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^•y^ 



i. 




Sroiies of One-Jiuvdred Operas 

mtP^ive-Ttundred ^{lustrations 

^ descriptions of Ovc-%ousaDd 

Victor Opera F^cords 






A \ 






i\ 







Ji^y-^^'^;:' •'^^M''V.• 



VICTOR TALKING MACHINE COMPAN 
Camd™. New Jcr«T. U. S. A. 

REVISED EDITION 

Copyristil 1913 

/KTOR TALKING MACHINE COMPAN 

Cundcn. New Jcnsy. U. S. A. 



Jndqpr 



A LTHOUGH the Opera Stories ii 
**■ under the mo«t (ainllur of the 
convenient for quick reference. 



ihia book are ii 



Afric»aa, Africaine II 

Aida 19 

Amleto 169 

Andrea Chenler ...... 21 

Btllo in Ma«ct>era 261 

' Barbiere di Sivifflia 29 

I Bartered Bride 35 

I BohSme 3? 

I Bohemian Girl 43 

Carmen 47 

I Cavalleria Ruaticana .... 61 
imca of Normandy ... 67 
I Contea d'HoSmin 411 

Damnation of Fauat ... 68 

Daughter of the Regiment . . 72 

Dinorah 73 

Don Carloa 79 

Don Giovanni. Don Juan . . 77 

Donne Curioie - 63 

Don Paaquale 83 

I Duik of the Goda .... 162 

>ir d*Ainore (Elixir) ... 91 
lani 94 

Faliuff 101 

I Fauat 103 

Favorita. La 126 

Fidelio 131 

Flauto Maffico 226 

Flying Dutchman 134 

I Force of Deitiny . . 141 

Fori* del Deitino, La ... - 141 



Fra Diavolo 1 

Freeihooter. The 1 

Frei«:hutz, Der 149 I 

Germania 152 | 

Gjoconda. L> 195 

Gotterdanunerung 162 

Griselidii 16r 

Gutflielmo Tell 472 

Guillaume Tell 472 

Haodet 169 | 

Hanael and Gretcl 173 

Hernani 94 

Hfrodiade, Herodia* .... 177 , 
Hutfuenota. Le* ISO | 

Jewela of the Madonna . - 187 j 

Kine of Lahore. The 384 

KoniKskinder 189 | 

L'Africana, L* Africaine ... 11 

Lakm« . 192 

Linda di Chamounix .... 196 
Lohetani ..... ... 197 

Lohengrin ■ 199 

Louiie . 20B 

Lucia di Lammermoor .... 209 
Lucreiia Borgia 216 

Madama Butterfly 219 

Magic Flute. The 226 

Manon (Maiienet) . . . . h»I 
Manon Leacaut (Puccini) . 141 



L 




foreword 

opera in America 

The opera hu at U>t come into iti own in the United States. In former 
yean merely the pastime of the well-to-do in New Yoik City and vicinity, 
grand opera ii now enjoyed for its own sake by million! of heareia through- 
out ihe country. Boston, Chicago, Philadelphia, New Orleans, San Francisco 
and Montreal now have their regular opera season j 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 dotlars. 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 y}% 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 enit^Tnent 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, Calvi, 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 VicI 
will revive these memories for you by bringing the voice of this singer back 
from the grave. tFoimorrf tanflnmrf on , 



^OreWOrd'cmtinued 

The Victor an Excellent Substitute for the Opera 

For every person who can attend the opeia there ate a hundred who 
cannot. However, many ihouMinds of lover* of the opera in the latter 



have due 



ered i 



alUfac 



■ubititi 



bringa the actual voices of the great singeni to the hoirn 
advantage that the artiat will repeat the favorite aria as many tlmei aa may 
be wiaheil, 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 accesBoriea will now be atoned for in some measure by the 
graphic descriptiona and numerous illustratioiu in ihi* book. 

The Victor Opera Season Never Ends 

In former years, after the cloae of the opera aeaaon and the annua] 
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, I 
and operatic recorda now form a moat important part of the musical life 
of the home ; and at all aeaaona of the year may be heard the voicea of the 
great singers, a consolation and a delight to opera lovers. 

This Book the First of Its Kind 

This little work ia unique in many respects, and while there are many I 
excellent books describing the plots of the operas, we think that ii 
other book on opera can be found all at these features : 
Q Titles in various languages, with pronunciation of each. 
Q Oate and place oF original production. 
fl Date and place of first performance in America. 

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

the numbers placed in the order in which they occur. 
Q More than live hundred portraits and picturea, making it the r 

completely illustrated book on opera ever published. 



1 ihrir opJTtnc Dublicmlionv-SiiiiroiCT wilh luperblj printed op«« ico 
i', «uil«r'*OpcnlicrAnihr>locy'^>DdI^liwwilfaibeMuaau»'Uirvy 


UM We Kl new iliiuj^nk wilh 
s .nd »ll«>jan. d, oper. .in 


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lis 




(Iiilitn} 

L'AFRICANA 

(Laf-rm-kalf-nah) 
<Gcrmu) 

DIE AFRIKANERIN 

(D« ,lft./™-tBJii'.«rJn) 



L'AFRICAINE 
THE AFRICAN 



OPERA IN FIVE ACTS 

Text by Scribe; muaic by Meyetbeer. Firat pioduced at ike JfcaJimlt, Paiii. April 28. 
1865. First London production in ItaliBn, under the French title, ■! CovenI Garden. July 22, 
l86Si and in Engliih at the Royal Engliih Opera. Covent Garden. Oclober 21. 1865. FirM 
New York production December 1. 1865. Flevived in I906bI the Metropolitan, with Caruao, 
Frematad, Plan^on and Joumet. 

Character* in the Opera 

SEJJKA, (Sfo-fac'^aJi) a ilave, formerly an African princen .Soprano 

Inez, (Ec'-nu) dau^ter of Don Diego Soprano 

ANNA, her attendant Contralto 

NELUSKO, (NafJnai Jto) a ilave, formerly an African chief Baaao 

Don Pedro, {Don PV-J™) Preaident of the Royal Council Basio 

Grande Inquisitore BaaM 

Don DIECO, {Don DccW-f) Member of the Council BaaMi 

High Priest of Beiahma (Bra*'.™*) Baaco 

Don ALVAR. Member of the Council Tenor 

VASCO DI GAMA.(^'<iV-*d<JkC:iiV-i>hA) an officer in the Portugueae Navy. Tenor 
Chorua o( Counaellora, Inquiaitora. Sailora. Indiana and Attendant Ladies. 



Tht acOan occuri In Portugal, on Don Pedis 



and in India. 



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 \(^hoin the Universe Adores) 

By La Scab Chorus (In Italian) "'62614 10-inch, $0.75 

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 \\— 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) 88360 12'-inch, $3.00 

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 10-inch, $0.75 

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 Seliko, has discovered her attachment for 
Vasco, and through jealousy offers to guide Don Pedro to his 
country. The young officer secures a ship and goes in pursuit. 

ACT III— Dedfcj of Don Pedro's Ship 

Preludio (Prelude to Act III) 

By La Scala Orchestra "'62614 lO-inch, $0.75 

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 deir onde profonde (Ruler of Ocean) 

By Francesco Cigada, Baritone (In Italian) *62407 lO-inch, $0.75 

Nelusko: When the gale rolis o'er the deep, 

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

c -r* *^^ t :«« ...,.,«^ See, the lightning's flash reveals to thine eye. 

Swift o cr foaming waves .How the dirk wives seek the storra-Iaden sky! 

To sound of fierce winds tramping; y^jj l^^p^ ^^^ jg |qj.j 

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

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

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 IW— 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. 

* DwbteJ^actJ Record— For atle ofopposUt side Me DOUBLEJ^ACED LAFRICANA RECORDS, page 13. 

12 




FAURB AS NELUSKO, 1865 



VICTOR BOOK OF THE OPERA — THE AFRICAN 



12-inch, $3.00 
12-inch, 1.50 
12-inch, 1.50 
12- inch, 1.25 



Marcia Indiana (Indian March) 

By Victor Herbert*9 Orchestra 70068 12-inch, $1,25 

By La Scala Orchestra *68027 12-inch, 1.25 

The priests, who have crowned Setika 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 V<isco 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 f (Oh Paradise f) 

By Enrico Caruso, Tenor (In Italian) 88054 

By Florencio Constantino {In Italian) 74085 

By Evan Williams (In English) 74148 

By Lambert Murphy (in Italian) 70100 

Vasco : 
Ilail! 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 Selika, 
who announces that he is her chosen husband. Neluslfo is forced to 
remain silent by threats that Selil^a will destroy herself. Di Gama, 
forgetting Inez, yields to the spell and weds the Queen by the native rites. 

ACT V — SCENE I — Tht 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 W— Promontory Cher the Sea 

The final scene shows a promontory from which Seliko 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 w^hich 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. Nelusko, 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. 




PMOTO BCMT 

AMATO AS NELUSKO 



Thou leafv 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! 



DOUBLE-FACED L'AFRICAINE RECORDS 

/Marcia Indiana (Indian March) By La Scala Orchestra 

1 Traviata — Preludio By La Scala Orchestra 

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

Ocean) By Francesco Cigada, Baritone (In Italian) 1^0^07 

Sci L'angiol di letto (Oh, Guardian Angel I ) By Tina r*>-**"^ 

Farelli, Soprano: G. Martinez-Patti, Tenor (In Italian) | 

t)io che la terra venera By La Scala Chorus (In Iiolian)\g.^f^. ^ 

IPreludio— Atto III By La Scala Orchestra f*^^**** 

^ DotAle-Faced Record — For tltie o/opfio»ite side jee iAooe lisi. 

13 



^68027 12-inch, $1.25 



10-inch, .75 



10-inch, .75 



(Itdlaa) 

ATOA 

OPERA IN FOUR ACTS 

Text translated from the French of Locle by Antonio Ghislanzoni. Music by Giuseppe 
Verdi. First produced in Cairo, December 24, 1671 ; at La Scala, Milan, February 8, 1872; 
in Paris, April 22, 1876; at Covent Garden, June 22, 1876; at St. Petersburg, 1679. First 
performance in America at the Academy of Music, New York, November 26, 1873, the cast 
including Torriani, Gary, Campanini and Maurel. Produced in New York in 1686 in both 
German and in English. 



' Characters of the Drama 

Aid A an Ethiopian slave Soprano 

THE KING OF Egypt Bass 

AMNERIS^ iAm-nar^-lu) his daughter Mezzo-Soprano 

RHADAMES^ {Rah^-ah-maz*) Captain of the Guard Tenor 

AMONASRO, (Am-oh-nahx-Toh) King of Ethiopia Baritone 

RAMFIS, {Rahnf-fiu) High Priest Bass 

A MESSENGER Tenor 

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

Slaves and Prisoners, Egjrptians, etc 



The tcene is laid in Memphis and Thebes, in Pharaoh* s time. 



h 



This opera was written by request of the Viceroy of Egjrpt, 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 1 — A Hall in the Palace. Through the grand gate at the 
back "^o^ ^^ ^^'i ^he 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, Ranrfis, are discussing the coming 




■■«r, fAMt 

CAKUSO AS KHAPAMES 



16 



900K OF THE OPBR A— V E R D I ' S A 1 D A 



invaaion of Ethiopia; and Ratnfit hinti that aome young and 
brave wurrioi may be chosen to command the expeditioD. 
Rhadama. left alone, hopes that he htnueK may gain the 
coveted honor, and promises to lay his triumphs at the feet of 
hi. AlJa. 

Celeste Aida (Heavenly Aida) 

By Enrico Caruso, Tenor 

{h Italian) 88127 12-inch. *3.00 
By Leo Slezak, Tenor 

{In Gtrnian) 64113 10-inoh. l.OO 
Then occurs the splendid gem oF Act I, the Celeale Aida, 
beginning 



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



3' 



Rhad 



tniy Aida. I 



n thy 





Ohime ! di tf uerra fremere (Alas 1 the 
Cry of War I Hear) 

By Elena Russcowska, Soprano : Bianca Lavia 
de Casas, M ezco- Soprano i Egidio Cu- 
netfo.Tenor iln Italian) 88261 12-iiich, t3JX> 
The King't daughter. Amntrit, enters, and seeing the young 
ifarrior's glowing enthusiasm, delicately hints of her secret 
iffection for him, saying : 

What unwonled fin in Ihy gUncsl 
Wilii what noble pride glows Ihy (a«! 
W;or[hy ni envy— oh. h" ■- 



.e beloved aspect 
light of joyT 



I his hope of securing the 
:n Aida enters, and the young 
eals to Amneris his love for 



ig and his guards enter and receivea messenger, who 
reports that Egypt has been invaded by the Ethiopian army, 
under the command of Amonatm. ("My fatherl" exclaims 
AiJa aside.) Amid great excitement Rhadama is appointed 
leader of the army, and is presented with a banner by 



BOOK OF THI 



O P B R A— V E R D I 



Sul del Nilo (Nilus' Sacred Shores!) 

By Eleok Riuccoiv«ka. Soprano : Marim 
Cappiello. Meizo-Sopranoi Taperfi 
and Davi (In llaliani 68266 12-iiu:h. *9.00 
Followins the trio comes a grand choni*; 

To bitclr! We'll hunt Ihc invader down. 
Onl Rhadamca. thy brow may laurels crown! 
All depart to prepare for the eipeditian. while Alda, 
I left alone, give* way to her grief and sings the beautiful 
RUoma slncltot, ezpreuing her conflicting emotiona. 

Ritoma vincitor (Return Victorious t) 

By Johanna Cadiki, Sopraao 

(In Italian) 88131 U-ineh. O.OO 




fatherT-of bim i 



' ■?„": 



h an Rhadames— 
love so much? 
ranh was heart lorn by more 

I ainga the lovely and appealing 

I sacri nomi (The Sacred Names) 

By Celeitina Boninic«na, Serrano 8S233 (A) JUilUm) 13-Jnoli. •SXW 

Rouaing heraelf ihe calla on her goda (or aid and goea 
■lowly out aa the curtain (alia. 

SCENE II— TAe Tanftc of Vakan-ln thtanin, an allar. 

Illiimlnaled by a mi/tlerioat light from above 

Ran^a, the High Priest, and the priests and priest- 

eaaes have assembled to bless the expedition. The chant in 

praise of Ptah is heard from an invisible choir. RbaJamtt 



ved of II 



To™Ihe eoeniy, terrorA 



The sacred suil of Egypt! 

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

By Antonio Paoli. Tenor : Perello 
de Setfurola, Bass; and Chora* 

(/n hallait) 88268 12-inch. 13.00 




m^ 


i^ 


H 


s . - - 


' (J* v- 


< -r^H 




t. . 'a 


^H 




11 


■LH ^ 






■ \^ '^-.A*.- ■ 


1 T* -^-N-^- 


:^?ri 





BOOK OF THE OPER A— V E R D I * S A 1 D A 




Ramfit then tingi the doaing invocation, in which Rhadama joiiu. 

He is invoted with the iBcrecl aimoT, and as the pheMeaaei perform the msntic dance 
the cuitain slowly falls. 

ACT II 

SCENE I— ^ hall In Amn,^,- apartmmU 

The curtain rises, ihowing the Princess and her slaves, who 

are adorning her for the triumphal festival in honor of Rhadama, 

just returned with his victorious army. Amnerii and the slaves 

sing the ode to the returned hero. 

Chi mai fra (His Glory Now Praise) 

By Maria Capiello, Meiio-Soprano. 

■nd Chorus {la tlalUm) "iiOOb 12-inch, *\SO 
Seeing AiJa 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. 
RuBZcowska and Lavin de Casas, of the La Scale forces. 

Fu la sorte dell' armi CNeath the Chances 
of Battle) 

By JohanoB Gadski, Soprano, and Louise Homer. 

CoDtcalto i.ln llallan) 89024 12-inch. *4.00 

By Elena Ruszeo<vska. Soprano, and Biaoc* 

Lavia de Cssai. Mezzo- Soprano 

I/n tfallan) 88262 12-inch. 3.00 ^ 

Alia potnpa, che s'appreste (In the Pa^jeant • 
Now Preparini;) "o"" « »mi"i«ii 

By Johanna Gadski, Soprano, and Louise Homer, Contralto 

{In Italian) 89029 12-inch, f4.00 

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

By Elena Ru>ECO<nrika, Soprano, and Bianca 
Lavin de Casas. Meeso-Soprano 

{h Italian) 88263 12-inch, tS-OO 
Amntrit pretends to sympathize with the afflicted 
girl, saying: 

The falc of srma waa deadly lo thy peopk-. 
Which weighs down thy heart I share with 
I am ihv friend; 
Time will heal Ihe anKui^^h of thy heart. 

Oh'; love immortal: oh: Joy and sorrow. 
Sweele't delirium, dark donbls and woes: 



This dpalh-like pallor, this strong emotion. 
Plainly reveal the fever of lovei 
(To aJo): 

Has someone a tender sorrow haply waken'd 




* ZXaU^OCnf Aianf— For Ufa a/M««(b Wr 



K DOUBLE-FACED AIDA RECORDS, p. 



VICTOR BOOR OF THE O P E R A— V E R D I ' S AIDA 

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 toe throne beside the King; 

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

Ah, what have I said? forRive 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 roe? 

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

I cannot live hence from love apart! Tnis 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 rdles — 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 U—mthoui the Ciiy Walh 

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 Ve8sella*9 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 htm.) 

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

Come, and let my daug[hter 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 1 see I My father I '* All are surprised, and Amonasro signals to 
Aida not to betray his rank. Amonasro then sings his recital : 

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

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

Soprano ; Egidio Cunetfo, Tenor {In Italian) 88264 12-inch. $3.00 

Amonasro: 

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

Was conquered, and death I sought in vain. If the love of country is a crime 
(Pointing to his uniform) We are all criminals — all ready to did 

This habit I wear may tell you (Turning to the King with a supplicating 

That 1 have defendca 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 wa«; 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. 

* Doui>ie^4Ked Record— For mkqfofipodtBgldetm DOUBLEJ^ACED AIDA RECORDS, page 26. 

20 



VICTOR BOOK OF THE OP E R A— VB RD I 'S A IDA 






B chant of p 



a chorus within the 



O tu che sei d'Oiiride (Oh. Thou W^ho Art 
Osiris) 

By Marii Cappiello. Soprano, and Choras 

(In Italian) "55005 12-inch. • 1.50 
Chohui (.inlhi lempM: 

O Thou who art of Osiris, Abnbbis: 

Mather immortal and spouK. I will pray that Rhsdanx^s maj 

Goddess who awakens 1>ie beatings give me 

In (he heart of human crraturei. Hii whale heart— as mine ■□ him 

Come piteous to our help, Is consecraled forever] 

Molber of eternal love. 

A boat approache*. bearing Rhadama and Amneris, who go into 
the Temple. Alda, veiled, cautioualy enters, hoping that Rhadama 
will come thither, and singa a tender and deapairing aong of that 
lovely land which ahe may nevei ace again. 

O patria tnia (My 'Native Land) 

By Johanna Cadaki, Soprano 

{h kalian) 88042 12-uicli. *3.00 
By Emmy Deatinn {In Ctrman) 9209S 12-Ulch. 3JM) ••» 

By Celeatina Boninicfn* (llallan) 88239 12-tlich. 3.00 » 
By Lucy laabelle Marah (.I'oilan) 60098 10-ineh. .75 
• DasikJ^aetJ RtorJ—Ftr ink B/„pp,Mi M, w DOUBLEJ'ACEO AIDA RECORDS, ^ 



VICTOR BOOK OF THE O P B R A— V E R D I ' S A 1 D A 




Now hope i 
ditpellinn. 



and frMrinl vales. O ouiet dwelling, 
o( happy days of love thai bore. 



happy days of I< 
is banished, love 



Three fine lenditioni of 
the moat effective in the ooerj 
by ihtee celebtBted prin 



dODIK 



. all of whom 



been »een in America in thi> rtle. 
Aida is about to depart vrKen she ia 
aMoniahed to tee her father. AmonaMiv re- 
pioache* his daughter with her iove For his 
enemy fihadama, telhng her v^ith significant 
emphasis that ahe may behold her native land 
again if she wishes. He tells her that his 
people have risen again, and proposes that 
■he ahall influence Rhadamtt to betray the 
plans of his army in the new campaign. She 
at lirsl retusea, hut he bids her be true to her 
country, and pictures the sufferings of her 

Cielt Mio Padre t (Heaven! My 

Father!) 



[Inhaiian) 89067 12-iDch. »4-00 



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

By Elena Ruszcowsks sad Giuseppe Magfi {Italian) 86267 12-iDch, tS.OO 



Heaven! My fatfaer: 




Profaned our houses, temples and altais: 
Mothers, old men and chftdren he slew. 






Crave affairs lead me lo Ihec 




Aid*: 


sj».'£K«j.': 


es"; 'hc 1o«s liie 


c 1 remenibei the grief that niy heart sufltre 










t is lliy rival— 


Then de'lay not. In arms now is roused 


An infamous race, abhorred 




Victory we shall have. Il only remains f 




:. the daughter . 


]f to know 


Amonasro. 




What path Ihe enemy will follow. 

Who will be able la discover it? Wbocvci 


"n*'her'pi.wer; No! If Ihoi 


LI wislit!.!, 






AnoNASHo: 


And conn try, and throne, j 


ind love all sh< 


,11 Thyselfr 



TX^ ^ 



Su, dunquel (Up, Then!) 

By Johanns Gsdski sad Pssquale Amato (llallan) 89068 I2-iiich. f4-00 

By Elena Ruszcowsks sod Eraesio Badiai (Ualian) 88265 12-ine!i, 3.00 

With growiag excitement he describes the consequences of her refusal. 



Up. then! 

Rise, Egyplian legions: 

With lire destroy our cities— 

T^^ur Vun'' iSk'ET aa longer ^eckl 



Ah. father: 
' M'y*daSBhIcr 



BOOK OF THE 



O P E R A— V E R D I ' S A I D A 



On Ihe citiEs of tbt vanquished — 
S«lli thou i From the blade gulf 1 
The dead «> ' ^ 




It 19 ihjF mothei 

AlDA <>R Ihe grta 
Ah, no! Fatbci 

Go, unworthy ai 

Thou art the si 

AiDA (yitUinp): 

Bepros'ch me nc 
Thy daughier a 
Of my eounlry 



By fail 



quiet j 



ited, (he worLd will i 



He finally consenU. and icveala to her that the aimr 
wiil go by the pasi oE Napata. Amonairo, who hu oveiheard, 
DOW enteia, and Rhadama i* horrified at the Lnovrledge that 
he haa betnyecl the aimy to the King of Ethiopia. Hia 
•criiple* aie finally overcome, Amonatio aaying : 



No: 



9 Ihe * 



-111 of fan. 

d the Nile await 



TherL ..._ 
Shall be c: 



Cora* 

Amntrii, coming from the temple, pauaea behind a pilli 
Mad with jealouiy, ahe rashes in and denounces the guilty 
but Rhadamtt i> taken in custody as a traitor. 

ACT IV 
SCENE I —A room fri Ihe Palact— on one tide a door leading 

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



and overhears the final words, 
io. Alda and Arrtanairo escape 



AUNEII 

My^i 



(ftiHer, 



me) : 



The high secret of 

wished to fly- 
To Hy with her— lr» 



Guards, Rhadai 




VICTOR BOOK OF THE OPER A— V E R D I ' 9 A I D A 

Rhadama entert, and the fint great duet of the act occun. 

Gia i sscerdoti adunnasi (The Priests Assemble) 

By Louue Homer and Enrico Caruao (Inllatlan) 89050 12'iiich, •4.00 

By Pietracewska and Barrcra (/n Italian) B8269 t2-inch, 3.00 

Aida a me totfliesti (Aida Thou Hast Taken) 

By Louife Hom«r and Enrico C«ru«o (/n Italbm) 89051 12-ii)ch, •4.00 

Amntrit offera to aave hii Ule if he will renounce AlJa. He acoma her piopoaal. reaolv. 
ing to die rsther than be (alae to hia Ethiopian Princea*. 



I cannot do it! 
AUHISIS: 

Wouldst tbou d 



From the file that iwai 
thee' 

A^love^hat'hid'no equal* 



The suarda now appear and conduct Rhadama to the judgment room. The enauin: 



The suarda 
lei* a highly < 






Ohimet Morir mi sento (Ah. me I Death Approaches 1) 

By Lavin de Caaaa, Mc££0-5oprano; Rizio Sant' Elia, 

Bail ; and Chorui (In Italian) 86270 IZ-inch. O.OO 

AmneHs, aeeing RJtadamtt taken out by the Priesta, repents her harahneaa and ainka 
down deaolate on a aeat. 
Amnui* (/allixgon a cAoir, ovt'eomt): Ah, let me not behold thoie while robed 

will' uvi ban) (.c'i>vtri"hir fact with htr luniij. Tht voice 

He is now in Iheir povei-. o/ Ramfil cm bt ktard tvilltin.) 

Hi) Mnlence I have lealed— Ob, how I curK Rjturii: 

^ '^"p .. . ih h hut d d Rliadam**. Kbadames: thou hail betrayed 




ven ireful, blood-thirily 



VICTOR BOOK OF THE O P E R A— V B R D I • 8 AIDA 

Sacerdoti, comptste un delicto I (Priests, a Crime You Have 
Enacted I) 

By Livin de C«h«. Metio-Sopniio ; F. Rizii. Baw: utct 

ChoniB (/n llallan) 88323 12-iach. *3M> 

The priota now enter from the crypt and paai acrou the hali. The wretched woman 
denounces them. 

Prices of Heaven, a crime you have enacled. Amneris: 

Tigtts even in bloodshed eiulting, Impious prieilhood, curses light on ye all I 

Earthly justice and Heaven's you are insulting. On your heads Heaven's vengeance will fall! 

On tbe guiltless your sentence will (all: iEiil tgildly.) 

PaifSTs: [Departing iloKly.) 

None can his doom recall! 

This ii one of the moat unpreaaive recorda of the Alda aeries. The despair of the 
wretched Jlmnetit, and the aolemn reply of the unbending prieata are wonderfully expreaaed 
by Verdi. 

SCENE II — Interior of the Temple of Vulcan — ta/ou a Sublerranean Apartmad 
' ' The mark finiihea In lertrdty and peace, and lach lermlnalloni art Iht motl htauitfal. Abooe, 
the lemplt fall of light, where the ceremonlea conlinue ImmuiaUe In the tancluary of the inJffferenl 
goda ; belom, iwa human beings dying in each other ') ormi. Their tong of loec and death li among 
the moit beautiful of all music. "—CamllU Btllalgae. 

When we hear the eipreHion "the duet from Aida," our tkougkta alwaya inatioctively 
turn to thia number at the cloie of the worli. There are other dueta in the opera, aome of 
them fine numhen, but thia ia the great one^ — peihapa the moat tntenaeiy dramatic and 
melodioualy beautiful of all Verdi'a wiitinKa. 

La fual pietra (The Fatal Stone) 

By Johanna Gadski, Soprano, and Enrico Caruio. Tenor 

(/n Italian) 89026 13-incb. UXM 
By Nicols Zerola. Tenor (Part of acene — "Todie, (o 

pure and lovely H (/n Italian) 74225 12-inch. 

laat acene ia a luEhly pictureaque one. Above we aee the aplendid Tem^ . _ __ 

Ptah, where prieata and prieiteaaea are chanting their atrange aonga. Below, a dark vault, 



Thia laat acene ia a highly pictureaque one. Above we aee the aplendid Temple of 
'tah, where prieata and prieiteaaea are chanting their atrange aonga. " ' 
n whose depths Rhadama ia awaiting with patience a alow death by al 




,. s (dtif'i'ixaW: 

e fatal stone upon me no 

<w has the tomb engulf'd 



The light of 
No more bet 


loi^Aida?"" ' 


Aida, where 




NevI'may'^n 


ly f'JightT'f doo'i 


earl 




(Then s«dd. 


mfv JH the lb 




r ^.dn, ToAo ko. 


Iht erypt . 


that the may di 


What moan 


was that? 


Is't a phantc 

No! \U 3 h 


im, or vision dr< 
uman being! 


Heaven! Aid 




Vida: Yes; 








Thou, with f 


nr hrre buried! 


mV heart f. 


sreboded Ibis. 


A^^to-thi, 




I crept unse 


en by mortal. 


Here, free fi 


rom all. 


Where none 




ClaspM in 


'SSEP°-' 


Ehadahes: To 




To die! thvs 


In all ihy bi 




Fade thus to 




Tbou, whom 





BOOK OF THE OPER A— V E R D I ' S A 1 D A 



With beavcnJ)' radUnce beaming, Where only bliw and joy reside. 

Would waft us to eternal joys, The btiss and joy o{ never fading, endlcu 

On goJden wingi above! love: 

The lovera ains their plaintive farewell to earth in hauntingly lovely itraina, while in 
■tranEe contnut the heathen chanting continues Bbove. 

O terra addio (Farewell. Oh. Earth) 

By Johanna Gadiki. Soprano, and Enrico Caruso, Tenor 

{In Italian) 89029 12-inch. *4.00 



I. thou dark vale d 



id endleae n 



DOUBLE-FACED AND MISCELLANEOUS AIDA RECORDS 
rChi mai fra (Hii Glory Now Praiie) By Maria 



Cappiello, McEXO-Soprano, and Chorua {In Italian) 
iO tu che aei d'Oiiride (Oh. Thou ^'ho Art Oiirii) 
I By Maria Cappiello. Mezzo-Soprano. and Chorus 

(In Italkm), 



12-inch. tl.»0 



fCelette Aida (Heavenly Aida) Trombone By Arthur Pryorl-,--- ,, :_„i. , ~. 
in Guarany Overture By Pryor's Band/""^ 12-inch. US 



rle Fatal Stone Comd-Tmmione ] 

By Arthur Piyor.Emil Keneke and Pryoc*s Band}39150 12-in 
Smnadt (Till) 'Cdto-FJult Bv Loult Heine and Dariui Lyontj 



1.29 






/Aida Fanusia 
\ Catceda of RoMet WulU 
(Aids Selection 
\ Alllla— Grand Trie 

Aida Selectioii (Finale. Act II) By Pryor's Orchestra 31399 12-ineh. I.OO 

(Aida— Grand March Vessella'i Italian Bandl,,,,, ,, . . , _. 

\ R/>ndo CafirlcdoM (Mendtiitoho) Vwella, Italian Bandr^^^" »2-">c''- "■" 

rarcha THuaM (Triumphal March) 




ANDREA CHENIER 

OPERA IN FOUR ACTS 

Libretto by Luigj lilies ; music by Umbcrto Ciordono. Fint produced at La Scab, 
Milan. March 20. 16%. FirM performance in Berlin in 1896: in London. April 2, 1903, by 
the CbtI Rota Company, in Engliah. Given in Italian some yeari afterward, with StaHuMch. 
de Cimeros. Zenatello and Sammaico, First Americsn production at the Academy of 
Music, November 13, 1696. with Durot. Ughetto and Bonaplata-Bau. Revived in 1906 by 
Oscar Hammerttein's Manhattan Opera Company, the cast including Mme. Eva Campanini. 
Bassi, Sammarco, Zeppili and de Cisneros. 



Characters 

ANDREA CHENJEB 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 

SCfmiDT. jailer at Sl Lazare Ban 

A SPY 

Ladies. Genllen 




Tlmt and Place : Pari) ; during Iht French Rtaolailon. 



The story tells of Andrea Cbealtr, a patriot, poet and dreamer, who was bom 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 monatchs. 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— //»// In Iht Caille of Coigny 

As the curtain riaes the servants of the castle are preparing for a ball, and among them 
is Gtrard. 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 Sort nsuanl' 



Son sessant' anni {My Aged Father) 



By Ernesto Bidioi. Bar 



(/n Italian) 49012 lO-inch. *1.00 
g poet, and during the feabvities 



VICTOR BOOK OF THE OPERA — ANDREA CHENIER 

Improwiso — Un di air azzurro spazio (Once O^er the Azure 
Fields) 

By Enrico Caruao, Tenor (In Italian) 88060 12-inch, $3.00 

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

ACT III 

SCENE— y4/ 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 Chertler, and after much hesitation he consents to draw up the necessary papers. 
He signs them and hands them to the spv, 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 ^Vas a Soldier) 

By Etfidio Cunetfo, Tenor (In Italian) 45012 10-inch, $1.00 

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 Si. Lazare 

Andrea is in his cell, writing verses by the light of a lamp. Madeleine succeeds in 
getting into the prison bv 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 Atfed Father) By Ernesto Badini, 

Baritone (In Italian) 

I Si fui soldato (I Was a Soldier) By Etfidio Cunetfo, Tenor 

(In Italian) 



45012 10-inch, $1.00 



28 



IL BARBIERE DE SIVIGLIA 
BARBER OF SEVILLE 

COMIC OPERA IN TWO ACTS 

Text by Sterbini, b Roman poet, founded on the celebtated trilogy of Beaumarchai*. 
Muiic by FtouinL Firit preaented at the ArKentina Theatre in Rome. Febiuaiy 3. 1816. 
First London production March 10; ISIS. Fini New Yoik production November 29. 1823. 
Tlie opera was at firat called "Almavjvs. or the Uaelen Precaution." to dialinBuiah it from 
Paiiiello'a " Barber of Seville." 

C>«i 

Count ALMAVIVA (^/jiwA-cw'^A) Tenor 

BABTOiX), {Bah/ -taJoa) physician Baas 

ROSINA. his ward Soprano 

BASIUO. (BbJmh/^wA) music marter Baaa 

MARCEUJNE (MaMAetfct'-neA) Soprano 

Figaro (F«.'.«a*.iw(.J Baritone 

RORELLO, servant to the Count Tenor 

A Notary, Chorus of Muncians, Chorus of Soldiers 

SceiK and Paiod : StOlIU, the ttoenletnlh ctalury. 

Rossini's opera is a marvel of rapid composition, having been composed in about fifteen 
days I This seems almost incredible, but the fact is well authenticated. The composer had 
agreed to write two operas for the Roman carnival of ISI6. the first of which was produced 
December 26, 1615. 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 scnitiona. 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 opeia-lovers on account of its brighmess and the manner 
in which the humor of its action is reflected in the music. 

The plot of Barbtr ofStOlllt is very simple. The Ciunf Almaolea loves Rotlrta, the ward 
of Dr. Bartoio, a crusty old bachelor who secretly wishes to wed her himself. Almaoioa 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 Atuina's music 
teacher, who, he says, is ill. 

The appearance of the real ^^^^^^^^^U «i^a«s 

ZXinSaijAo spoils the plan, and ^^^^^^^^^K ^E7f 

the Count retreats For the ^^^^^^B '<*^-_'^ 

second time, having, however, 
arranged a plan for elopement. 

Bartoio finally arouses ^^^^^^^^— — ^ 

Aoifna'i jealousy by pretend- ^^^^^^^^^^HW P * ' 9t| 
ing that the Count loves ^^■^^^^^^■■1 ■- i- iT 
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 
of Bartoio, and the lovers are wedded by a notary, just as Bartoio arrives with officers to 
arrest the Count. 




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

By La Scali Orcheitri 6B010 12-iiich, tU9 

ACT I 

SCENE ]—A SirttI in SeBllle. Day U Breaking 

The Count, accompsnied by hia servant Florello and aeveral muaiciBTM. entera to aerenade 
the beauliful Rotlna. Accompanied by the mandolin*, he linga hia aerenade. Etco ridenle, 
conaidered one ol the moat beautiful numbera in the opera. 

Ecco ridente (Dawn, "With Her Rosy Mantle) 

By Fenundo dc LucU. Tenor (Pfano ace.) {In Ilatlan) 76000 la-inch, $2j00 

CouBi: 

Lo! smiling in the Orifnt iky, But, hush! — mcthinka I view that face. 

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

Canst ihou. my love, irai-tive lie— Tbine eyes diffuse 9oIt piiy> Brace. 

M]^ life, an tbou not waking? And all my fears are banished. 

All that my soul boldt dear; ' All' other blisses sbaming; 

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

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

Even auch a lovely aerenade aa thia fail* to bring a reapanae from the window, but the 
Count (till lingers, concealing himself in the shadow aa he aeea Figaro, the jaclc- of -all- trade* 
of the village and general factotum in the house of Barlolo. Figant unalings his guitar and 
singa that gayest and moat difficult of all airs, the joy or despair of baritones the world over, 
which has been recoided foi the Victor by three famoua baritone*. 

Larifo al factotum (Room for the Factotum) 

^^^ By Pssquale Amato. Baritone 

JH^^ {In Italian) 88339 12-inch. *9.00 

^^'^^^L By Emilio de Gosorza, Baritone 

W^^V (In Italian) 88181 12-inch. 3.00 

M^^^ By Titta Ruffb. Baritone 

^E^^ {In Italian) 86391 12-inch. 3.00 

^T^^^^^^^ Pig""' ■■ thoroughly saliiRed with himself, and gives a 

^F^ ^^^H^^^ long list of bis numeiou* accomplishments, of which the 

M f ^^H^^ following U a sample: 



La, la, la, la, U, la. 



ta^et^oi "uaUt"'*""" ' 



art sure the happiest of men. icady al all hours of the night, and. by day. 
IK^rpelually in biiMie and motion. What happier repion of delight; what 
nobler life for a barber than mine! Kaiors, combs, lancets. sel>:sot<~behold 
Ihem all at my command! besides (he snug perquisites of the business, with 
gay dam!,el>^ and cavaliers. .Ml call tne! slT want mc!— dames and maidens— 
oldand youn^. My [wnike! cries one— my beard! shouts , another— bleed 

what a crowd. Figaro. Figaro! heavens', what' a lumuh! I^e^al ™tim^ 
for mercy sake! Figaro here: Figaro (here: Figaro above: Figaro below. 
1 am all activity: I am quick as lightning: in a word— I am ifie factotum 
of the town. Oh. what a happy life! but little fatigue— abundant amuse- 

marryi to me the little ' widows have recourse for a husband: l) under 
excuse of my comb by day, and under favor of my guitar by night, endeavor 
to please all in an honest way. l)h, what a life, wlat a life!" 



VICTOR BOOK OF THE OPERA — BARBER OF SEVILLE 

Three fine records of this great air are giveii 
here. Ruffa, in hu rendition, prove* himself poa. 
•eased of an admirable aerue of humor, uid this, 
with his powerful and Rexihle voice, enables him 
to attack this difficult solo in the true opfra- 
bouffe vein. The result is as line ■ performance 
of the Largo as one would wish to hear. The ex. 
tceme difficulties are made a vehicle for the displav 
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 Cogorza'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- 

The Count now accosts Figaro, asking him to 
^"^ " arrange a meeting with Roaina, telling hint that 

his rank must not he known and that he has assumed the name of Lindor. 

II mio nome ? (My Nunc 7) 

By Fernando de Lucii, Tenor 




ally. 



Fig. 

Retina, perceiving the CounI 

house and orders that no one be admitted. 

Figaro now says that he is expecting a militaiy friend 
suggests the Count dress himself as this soldier and thus gein i 
agrees, and retires to assume the disguise. 

SCENE 11—^ Room In Barlolo', Hoiue 

Rotlna 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 MareeUa Setnbrieh, Soprano 

(In Italian) 88097 12-incb, *3.00 
By Luiss Tetrsziini. Soprano 

{Inllallan) 86301 I2-incb. 3,00 
By Maria Gilvany. Soprano 

(/n llatlan) 8T060 lO-inch, 2,00 
By Giusepptna Huguet, Soprano 

{Inllallan) *68144 12-ineh. 1.25 
The number is in the form to which moat 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 lighmeas and bravura. 

Roiiha: a little voice 1 heard just now: My guardi: 

Oh, il has Ihrill'd my very heart! But I ml 

I feel thai I am wounded sore: Content st 



1^) {Inllallan) 66000 lO-Jneh. (1,90' 







VICTOR BOOK OF THE OPERA — BARBER OF SEVILL 



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. 
Bariolo 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 I *' says 
Basilio. Bariolo 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) 74 1 04 1 2-inch, 

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 oft tempests deep, 
That thro* the woods in murmurs sweep 
And howl amid their ^^averns drean 
It shakes the trembling soul with tear. 
Thus calumn]r. a simple breath, 
Engenders ruin, wreck and death; 
And sinks the wretched man forlorn. 
Beneath the lash of slander torn. 
The victim of the public scorn! 
(They go out.) 



$1.50 




coPT'T ourair 

8EMBRICH AS ROSINA 



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

Dunque io son (^Vhat ! I ?) 

By Maria Galvany, Soprano, and Titta Ru£E6, Baritone 

{In Italian) 92501 12-iiich, $4.00 



Rosina: 

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

Figaro : 

Yes, Lindor loves jrou. ladv; 

Oft he sighs for his Rosina, 

(As a fox she cunning seems. 

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

Rosika: 

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

Figaro: 

Poor man. he but awaits some sign 
Of your affcctionand 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 
Ficaso: 

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.) 



Bariolo 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. Bariolo then denounces her in 
another famous air : 



32 



VICTOR BOOK OF THE OPERA— BARBER OF SEVILLE 




Manca un fofflio (Here^s a Leaf Missing) 

By Arcanf elo Ro»i. Bau 

(htlalian) *68144 12-iach. »l^» 



Thai you belter should invent 

That l"woSlii*S?ii™*knDw. 
IT«-le<3. ma'am, are all your ai 
slLll. nor Li.le.rupl mr so. 



(Hr 



I choo» 



A loud bnockinB U heard at the rtreet door,— it i« the Count 
in his aoldler diiguiK. He pushes hia way in. uid insista that the 
commandant has ordered him to put up in Borto/o '] house. A long 
acene (ollowa. full of comedy, finally ending in the arrest of the 
Count, who. however, privately informs the officer who he ia; and 
the astonished official salutes respectfully and takea hia aoldiera 
away. Bartolo ii in luch a rage that he can hardly spenlt, and the 
act ends with the famous quartet : 

Guarda Don Bartolo (^x>ok at Don Bartolo) 

i By Ciuseppina Huguet, Soprano; Antonio Pini- 

Corai. Baritone: Gietano Piai-Corai. Tcoor: 
Brneito Badini, Baritone *63171 lO-inch, fO.79 

ACT II 

« SCENE— /I Room './Barlolo'i House 

'cred muling on the affair of the sf iiei, and as he has learned that no 
Icnows the man, he suspects that ' | waa sent by the Count- 
heard and the Count is ushered in, dressed as a music tnostar. He 
ning the duet, Pace e glola. 



Pace e gioia (Heaven Send You 
Peace and Joy) 

By Antonio Pini-Corsi, Baritone. 

and Emilio Perea. Tenor 

{In Italian) *6210» 10-inch, I0.7S 

Barlolo says he is much obliged for these 

kind wishes and wonders who this can be. The 

Count explains that Don Baalllo is ill and he has 

come in the music master's place to give Roilna 

m lesson. He shows Barlolo the note Roilna had 

written, saying he found it at the inn, and offers 

to make Rodna believe the Count has shown her 

note to another lady. Barlolo is pleased with the 

idea and calls Roxna. Tlien occurs the cele- 

brated "Lesson Scene" in which Roalna usually 

interpolates an air. Rossini wrote a trio for this 

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

*D<>uUt-FactdIUcBrJ—FtimiitifoppaimiJoic€JoiJJt.fa<tJlliiiiniHif34. 




VICTOR BOOK OF THE OPERA— BARBER OF SEVILLE 



pulae. "You need me 

Don BtaiUo pBitially Co 

The ahaving is rer 

are leall]' pUuining the 



licine," Bay* the Count, meaninaly, and ahpa a (at pune m hit hand, 
ipiehenda the aituation. look* at the pune and departa. 
;wed, and Roslna and the Count pretend to continue the lesaon, but 
ilonement. Barlolo tiiea to watch them, but Figaro managea to set 
each of his elforta to rise. He finally jumps up and dene 



the Count as an impostor. The thre 
Barlolo, who ia purple -with rage. Thia k 
Vienna Opera. 

Berlha, the housekeeper, enters, and in her air, // otcchitUo, complains that she can no 
longer stand the turmoil, quarreling and scalding in this house. 

II vecchietto cerca tnoglie (The Old Fool Seeks a \(^ife) 

By Emms Zsccafis {DBuUe-FaaJ—Sm ttlaa) (In Italian) 62109 lO-inch. tO-ZS 
"What kind al thing ia thU love which drive* everybody crazy ? " she asks. Thia air 
used to be called in Rome Aria Jl aorhtUo (iherbet), because the audience used to eat ices 
while it was being sung I 

Don Barlolo now desperately plays his last card, and show* Ri>$lna the note, saying that 
her lover i* conspiring to give her up to the Ciunf Almaelea. Rotlna is furiou* and offers to 
marry Barlolo at once, telling him that he can have Llndor and Figaro arrested when they 
arrive (or the elopement. Barlolo goe* after the police, and he is barely out of sight when 
Figaro and the Count enter by mean* of the key which the barber had secured. Roiino 
greets them with a storm of reproachea, accusing Llndor of pretend- 
ing to love her in order to sacrifice her to the vile Count Almadiia. 
' The Count reveal* himself and the lovers are soon clasped in a 
fond embrace, with Figaro in a "Bless you, my children," attitude. 
Dort BatlUo, who had been sent for a notary by Barlole, now 
arrives. The Count demanda that the notary shall wed him to ftorina. 
Batltio protests, but the sight of a pistol in the Count's hand soon 
silences him. 

■ rudely inten^pted by the arrival of SaiWo and the 

Seer in cbiu'ge demands the name of the Count, who 

. - JS Signor and Signora Almaoloa to the company. Barlolo 

2Bl\y decides <— •>■- ■• ' '^ " 

he inquires of Bailbo : 



Ahritoc 
Th» Cou 




soldiers. The oi 



lake the best of the n 



wEkh'Vhen 



All harshei, thoughls 
iou I tloK'*™aia\U'u)'iA 'o! 

[Carlaln) 



\^3M29 12-iDch, (US 



DOUBLE-FACED BARBER OF SEVILLE RECORDS 

rirber of Seville Selection By Ptyor** Bandl ,, 

Prophtie Fanlailt By Ayor's Bandr' 

JOverCure By L> Seals Orche»tra\,.„,_ ,_ . ^. , ,, 

\ Dor, Po^oIc-Slr^or,la (Donlltlll) & Z^ Sco/a OrcA«(n.r**^^° I3-lHCh. 1.29 

/Manci UD fotflio (Here's a Leaf Out) By A Rossi, BassU_, , . ,- •„ . , ,, 

tUtu voce poeo fa By Giuseppina Hujuet, Stn-^oof"*** 12-iiich. 1.25 

iCiurda Don Bartolo (Look at Bartolo) By Huffuct. | 

A. and G. Pini-Corsi, and Badinj </n Ilallai})}b5iri lO-ineh. .79 

Fra THaoolo^Agntit la Zltlella By Pirtro Lam (In Italian) | 

niVMchicttocercam^lie By Erains ^^ari. {/Wj»ft«)L ,(^;„^(, „ 

iPaee e fioia By A. Pini-Corsi and Peres (In ItaHanjf 




BARTERED BRIDE PRODANA NEVESTA 

COMIC OPERA IN THREE ACTS 

Libietto by Sabina. Muiic by Friediick Smetana. First production. Plague, 1866. 
First London ptoductian, Diuiy Lane, IS9S. FirM American production February 17, 191 1. 



Charscier* 

KRUSCHINA. a peanint Baritone 

KATHINKA, hU wife Sopnno 

Marie, their dausbtet Soprano 

MlCHA. a land owner Ban 

AGNES, his wife Mezzo-Soprano 

WENZEI, their aon Tenor 

HANS, MiCHA'S aon by firrt marriaBe Tenor 

KEZAL. a matTisge broker Bau 



The Bartered Bride was intended by xta composer* to be tjrpical of Bohemian life and 
character — to be a national opera, and so it really ia. The work illuBtratcs accurately Bohe- 
mian village life, and is baaed on a simple story full of mirth and sometimes almost farcical. 

Marie, daughter of Kruschina, a rich peasant, is betrothed to Hara, her father's servant. 
Ham and Marie, however, are threatened with separation because the maiden's father has 
determined she shall marry Wenzeh a half-wilted, stuttering tad. who is the son of 
Krtachlna'* old friend, Micha. Kraachlna and Kezal endeavor to arrange this marriage, but 
ibe girl flatly refuses to give up her old lover. Ketat finally offers Hani three hundred 
crovma if he will renounce Marie. At first the offer is indignantly rejected, but later Haru 
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 doe* 
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 Haru' 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. TYie mystery is not explained until Micha and his 
wife arrive and recognize Hara to be their long-lost eldest son. So Hara not only wins his 
bride, but gains 300 crowns, for Kezal\^ru, agreed that Marfe "shall marry only a son of Micha. " 
As the money remains in the family no one objects save Keiai, who departs in wrath. 

ThefamousOucrfun to fiarferei/Sr'i^e 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 (he national airs of Bohemia. 

(Overture By Arthur Pryoc's Bandl,,, ,_ , , ;„„l ,, ,« 

t Madam BuHerfly SeUflor, (Pucdni) ft, Pryor'. BonJ/"*** 12-ineh. »IM 



(Prcoeh) 

LA BOHEME 



THE BOHEMIANS 



OPERA IN FOUR ACTS 

Text by CUcoaa and lllioi ; miiiic by Puccini. Pir«« produced at the Teatro RegKiO, 
Turin, Februaiy 1. 1896. In English, ■■ "The Bohemians." at MancheMer (Carl Rosa Com- 
pany), April 22. 1897. and at Covent Garden with the came company. October 2d of the same 
year. In Italian at Covenl Garden. July 1, 1899. Fint American production, November 2S, 
1899. 



Characters 

RUD01J>H. a poet Tenor 

Marcel, a painter Baritone 

COLUNE. a philosopher . . : Baas 

SCHAUNARD. a roudcian Baritone 

BENOrr. an importunate landlord Bass 

ALQNDORO, a Male councilor and follower of Muaelta Baas 

PARPIGNOL . Tenor 

MUSETTA, a griaette Sopiano 

MiMI, a maker of embroidery Soprano 

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



.Scene andPtriod: Pari; lAoal 1830. 



^r^- 



\ 



Questo 

By 



cini's Boh^me is an adaptation of part of Morger's La VU Bahbnt, which depicts 
e QuaitUt Latin, or the Students' Quarter, in 1630. It being impossible to weave a 
complete story from Murger's novel, the librettists 
have merely taken (our oE the principal scenes and 
several of Murgcr's characters, and have strung them 
together without much regard for continuity. 

The principal characters in Puccini's delightful 
opera arc the inseparable quartet described by 
Murger. who with equal cheerfutnesa 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, 
vfith a haunting sweetness lliat is most f^ciruiting. 

Rudolph, a poet ; Marat, a painter ; ColUnt, a 
philosopher; and Schaartard, a musician, are four 
friends who occupy an attic in the Qaariler Lalirt, 
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— ^ Carrel in iht (^arller Latin 
The opening scene shows the four friends with- 
out money or provisions, yet happy, Maied is at 
work on a painting. "Passage of the Red Sea." and 
remarks, beginning a duet with Rudolph, that the 
this supposedly torrid sea seems a very cold affair I 

mar rosso (This Red Sea) 

Gennaro de Tura. Tenor, and E. Bsdini. Baritone 

iln Italian) 88233 la-inch. fS.OO 



VICTOR BOOK OF THE OPERA— PUCCINI'S LA B0H£ME 




Rudolph say* that in order to krcp them from freez- 

g he will BBciifiee (he bulky nuuiutcript o( his tragedy. 

fared holds the landlord at buy until Schaunard siiivea 

with an unexpected store of eatsblea. Having dined 

and warmed themselves. Manxl, Colllne and SchaunarJ 

go out, leaving Rudolph writing. A timid knock at the 

door reveals the presence of Miml, a young giil who 

lives on the floor above. She has come to ask her 

neighbor for a light for the candle, which has gone aul. 

They enter into conversation, and when Miml artlessly 

asks Rudolph what his occupation is, he sings the lovely 

jsually termed the " Narrative." 

I Racconto di Rodolfo (Rudolph's Nar- 
rative) 

By Eftrico Canifo. Tenor 

(/n Ilallan) B8003 la-in.. *3.00 
By HemuD Jadlowker, Tenor 

(In Ilalian) 76023 la-in., 2M) 
By John McCormack. Tenor 

ilnUalian) T4223 12-in.. 1.90 
By Ploreneto Conitaittino. Tenor 

{In Ilallan) 74106 12-in., l.»0 
'"■' ' ■ -■'■' By GeoTKe Hamlin. Tenor 

CAMPABAS, « MAICBL (In Italian) 14185 12-in., 1.50 

ByEvmnWUlianu(£nf''<A)7412» 12-in., 1-50 
Caruso has never done anything more perfect in its way than hi* superb delivery of this 
number. !t is one of his great scenes in the opera, end always arouses the audience to a 
high pitch of enthusiasm. He has sung il 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 oE 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 fini 

Sdlowker and Mr. McCormack, while three other versions— in II 
amtin. 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., *3.00 

By Geraldine Fsrrar. Soprano {Ital) 88413 12-in., 3.00 

By Alice Nielsen, Soprano {Italian) 74062 12-in.. 1.50 

Then follows the charming Ml chiamano Miml, 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 bloaaonu and green meadows of the country; of the lonely 
existence she leads in her chamber up among the housetops. 

O soavc fanciuUa — Duo and Finale, Act I 
(Thou Sweetest Maiden) 

By Nellie Melba. Soprano, and 

Enrico Caruso, Tenor 95200 13-in.. tSUX) 

' ' Miml a dellcalt perfection enchanted the young poet—etpeclalii/ 
htr Utile handi, ushch In iplle of her menial icorlt, ihe managed la 
keep ai while at inoin. " — Murger's La Vie de la BohCme. 

This lovely duet occurs just after the Ml chiamano Miml. 
girl h 

window to sp«ak ti 




VICTOR BOOK OF THE OPERA— PUCCINI'S LA BOh£mE 




BD oM flame of MarcdS. 
aDcient beau nained Ale 
Matdta ia determined on i 
admiiet tuid join* her old 
The gem of thia gay 
Mme. Viafora ainga here y 

Musetta W^altr 



By Guido Gialdini 

Mme. Viafora'a light aopri 

waltz, which the ainga with flucni 



brightena the room. The Bohemiana go off (inging. Ai 
Rudolph turna to Mimt and aeea her in the moonlight, he ia 
Btruck with hei beauty, and telb her how entrancing she 
appear* to him. 

Love awakena in the heart of the lonely girl, and in thia 
beautiful duet ahe pledges her faith to the haindaome Mranger 
who haa come into her life. 

Mme. Melba't singing in thia scene is of exquiaita beauty, 
while Caruao's delivery of the panionate phrase* of RuMph 
is superb. The beautiful motive with which the duet begina 
ia aaaociated throughout the opera with the presence of MimI, 
and ia employed with touching effect in the death acene in 
Act III. 

Mind conaenta to go to the Cafi Momua, 
where hia friends are to dine, and after a 
tender scene at the door they go out, and 
the curtain atowly fall*. 

ACT II 
SCENE— /I SladmU' Caf6 in Parti 
, This act represents the terraces of the 

J Cafi MomUM, where the artiata are holding a 
carnival. Puccini has pictured with maS' 
terly akill the noisy, bustling activity of thia 
scene, and the boisterous merriment of the 
gay revelers. The Bohemians of Act I are 
sealed at a ubie with Mind, when Mutttta, 
ippears with her latest conquest, a foolish and 
...idoio. Mated pretends not to see her, but 
a recoQcitiation, and soon gets rid of her elderly 
friends. 

scene is the charming waltz of Mu$etla, which 
rith spirit and delightful abandon. 



I thia 



pretty 




The fun now becomes 
fast and furious, and Maiellau 
finally carried off on the shoul- 
dera of her Erienda. while the 
foolish old banker, Aldndom, 
is left to pay the bills of the 
entire party. 

ACT III 
SCENE— ^ Oty CaU of Pari, 



R dawn of a cold 
It the city gates, the 
of the scene being 



• OoutfeJ^wrf ftHoB*— f or ; 



ifJr H DOUBLEJ'ACED LA BOH^ME RECORDS, /.ati 42. 



VICTOR BOOK OF THE OPERA— PUCCINTS LA B0H£ME 



painting, not Undscspcs, but 
Isvem mignt, in order to keep 
body and soul together. 
Mated enten and ii surprised 
to see Miml. whom he sup. 
poses to be in Paris. NoticinK 
(hat she is melBnchoiy and 
apparently ill, he kindly ques. 
tions her and learns her sad 
story. 



Muni. lo aon [ 
(Mimi. Thou Here!) 

By Geraldine Pamr, So- 

Scotti, Baritone 

(In llalian) 
69016 12-iiich, *4.00 
' »-"■'■ -"'^T ,,. By Dora Domir. So- 

prano. and Ernesto Bi- 
dini. Baritone 
08228 12-i])ch, 3.00 
This duet is one of the finest numbers in Puccini's 
opera, and Miss Farrar and Mr. Scotti have made a stiikinKly 
effective record of it, 
while the other ren. 
dition by La Scala | 
artists is also a 





> loi 






r th< 



with Rudolph, and 
that they must sep- 
arate. Mated, much 
troubled, goes into 
the inn to summon 
Rudolph, but before 
the latter comes. 
Miml secretes her- 
self, and when he 
enters she hears him 



Mimi e una civetta 

(Coldhearted Mimi !) 

By Laura Mellerio. Soprano ; Gennaro 
de Tun*. Tenor; tnd Ernesto Ba- 
dini, Baritone 

(/n llaban) 88227 12-inch. »3.00 




VICTOR BOOK OF THE OPERA— PUCCINTS LA BOH£mE 




Addio (Farewell) 

By NeUie Mclb>. Sopruio (InltaUan) BB012 12-uich. f34M> 
By Geraldine Famt, Sopn.oo 

(Inllaltan) 86406 IZ-ineh, 3.00 

By Alma Gluck. Soprmno {In Italian) 64229 lO-inch. l.OO 

Moat pathaticBlly does ihe poor girl's " Farewell, msy you be happy " 

come from her ample heart, and she turns to go. Radoiph prot«ta, ■omc' 

thing of hia oltf aflection having returned at the sight of her pale cheeka. 

Musella now entera and ia accused by Marcei of flirtiiiK. A furious 

tuarrel follows, which contrasts strongly with 
■e tender passage* between Miml and Rudaiph 
aa the lovera are partiaJly reconciled. 

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

By Geraldine Fatrv.Sopruio; Gins 
C. Viafora, Soprano; Enrico 
Caruio, Tenor: and Antonio 
Scotti, Baritone 
(In Italian) 96002 12-inch. I6.00 
By Dori Domar. Soprano; Annita 
Santoro. Soprano; Gino Gio- 
fiAUHAiiii AS iiA«c«L vannelli. Tenor: and Emcato 

B>4ini. Baritone 

(In Italian) 89048 12-inch, 4J>0 
Like the Rigoletto Quartet, this number ia uaed by the com. 
poser to express many different emotions: Tlie sadness of Mhnl't 
farewell to Rudolph; hia tender efforts to induce her to remain; 
the fond recollections of the bright days of their first meebng— 
and contrasted to these senbments is the quarreling of Miatlla 
and Marctl, which Puccini ha* skillfully interwoven with the 
pathetic paaaagea sung by the lovers. ^^ 

In Mimi Miss Farrar has added another rAle to the long liat , 
of her successes in America, and her impersonation is a moat 
charming one. She ^aa in superb voice and haa given this lovely r 

Caruso sings, aa be alwaya 
does, with a beauty of vmce 
and a sincerity c» emotion 
which cannot fail to excite 

Mme. Viafora, who is al- 
lay and inter, 
and Signor 




^^■nflM^HKi 



ways a piquant, 
eating Maatta; 
Scotti, whose 
Matctl is one of hia lineal 
imperaonationa. both vocally 
and dramatically, round out 
an ensemble which could not 
be aurpasaed. 

Truly a brilliantly aung 
and perfect balanced rendi- 
tion of one of the greatest 
of concerted numbers. An- 
otherveraion by famous artists 
o( La Scala is also offered. 




VICTOR BOOK OF THE OPERA— PUCCINI'S LA BOHfeME 

ACT IV 
SCENE— Some at Act I 
"Jft this lime, Ihe friendi /or many meel^a hod Ihed a lantly and melancholy 
exitttnce. Muatlla had made na $lgn, and Marcel hod never md her, while no 
' I JH \ fBord of Miml came lo Rudolph, though he ofltn repealed her name to himae(f. 
i in ^ Marcel treamred a little bunch of nihoni which had been left behind iy Maietta, 
-^ wj^ A ■""' "'^'^ ""^ ^"H ^' delected Rudolph gating fondlj/ ol the pink bonnet Mimi 
v~ ^k had forgollen, he muttered :' It aeenu I am not Ihe onlj/ one I ' "—Marg^r. 

' Act IV shows the (ame guret in which the cventa of Act 1 took 

place. Bereft of their (weethearta, 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. 

lit the opening scene. Morctl stands in front of his easel pretending 
to paint, while Rudolph, apparently writing, is really furtively gazing at 
Miml't little pink bonnet. 

All Mimi, tu piu (Ah, Mimi, Falae Onet) 

By Enrico Caruso. Tenor, and Antonio Scotd, Baritone 

{In Italian) 89006 13-inch. (f.OO 
ByMcCormaekuidSaminBrea {/laHan) 69044 12-ineh. 4.00 
By Da Gradi and Badini {In Italian) *4aoi3 lO-inch. l.OO 
Three records of this favorite duel are offered^by Caruso and Scotti. 
<«*T-T ■ii>ifl4B McCormack and Sammarco — and a popular priced vcraion. 

coHKTANTiiio A( The friends, however, pretend to brighten up when Schaunard and 

suootm 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 Miutllo, who tells the friends that Miml, abandoned by her viscount, has come back lo die. 
The poor girl is brought in and laid on Radolph'i 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 pavm his only good garment, an overcoat. He 
bids farewell to the coat in a pathetic song, which Joumet delivers here with much feeling. 

Vecchia zimarra (Coat Son|f) 

By Marcel Journet. Bais {In Italian) 64035 10-incb. tLOO 

ColUne goea softly out, leaving Mtml and Rudolph alone, and they sing a beautiful duet. 

Sono andati ? (Are "We Alone ?) 

By Maria Bronzoni. Soprano, and Franco de GreCorio, Tenor 

{In Italian) *4S013 10>ineh. ILOO 
The past is idl forgotten and the reunited lovers plan for a future which shall be free 
from jealousies and quarrels. Just as Miml, in dreamy tones, recalls their first meeting in 
the garret, sbe is seized with a sudden faintness which alarms Rudolph, and he summons 
his friends, who are returning with delicacies for Miml. But (he young girt, weakened by 
disease and privations, passes away in the midst of her weeping friends, and the curtain 
falls to Rudolph') despairing cry of "Mimi I Mimil " 

DOUBLE-FACED AND MISCELLANEOUS BOH&MB RECORDS 
IBohamc Fantasie ( 'Cello) 
\ Calm Sea and Happn yoyage — Ooerhire 

rohSroc Selection By Pryor's Band)-.--- , - . „. , ,,*. 

Jolk, Robber, Overture {Suppi) By Prvcr'. Bandr'^^" 12-mch, IJ25 

(Ah. Mimi. tu piu (Ah. Mimi. False One [) ] 

I By Da Gradi and Badini (In Ilallan)U50l3 lO-inch. 1.00 

ISooo andati T By Bronzoni and de Gretforio (In Italian) I 

ruaett* Waltz (fVhItllIng Soh) Guido Gisldin 

Carmen Selection {Xylophone) Wm. H. Reltif^ 

'DuMeJ'oaJRemd—FotlllktfoprollcildeimMiiilli 



'>16892 10-inch. 




THE BOHEMIAN GIRL 

OPERA IN THREE ACTS 
Text by Bunn; muaic by Batfe. Firet produced at Druiy Lone Theatre, London, 
November 27, 1843. Firrt Ameritan praduction November 25, 1844. with Fraier, Seguin, 
Pearson and Andrews. Bunn took hit plot from a ballet written (or ElUler, the dancer, by 
St. Georges, but transferred the scene troni Scotland to Hungary. The work was immedi- 
ately Bucceuful in Ejigland, and wai eventually translated into almost every language of 
EjiTope, and during the nest twent3ryears was produced in Italy aa La Zingara ; in Hamburg 
as /.a Citana ; in Vienna aa Die ^geuneiin ; and in Patis, with additional numbers, as La 
Boh^nititne. 



Characcera 

ARUNE, daughter of Count Amheim 

THADDEUS, a Polish eiile Tenor 

GYPSY QUEEN Contralto 

DEVILSHOOF. Gypsy leader Bass 

Count ARNHEJM, Governor of PresbuTg Baritone 

FLORESTINE, nephew of the Count Tenor 

Retainers. Hunters. Soldiers. Cypaies. etc. 

Time and Place : Pntiarg, Hungary : nlmlcenli ctnlary. 

The story of this opera is quite familiar, and can be dismissed with a brief mention. 
Thoddtm, an exile from Poland, is Heeing from Austrian troops, and to facilitate his escape 
be casta his lot with a band of gypsies, headed by DeviUhoof. As the tribe is crossing the 
estate of the Governor of Presburg, Count Amheim, Thaddcai is enabled to rcKiue the little 
daughter of the Count from a wild stag, and in his gratitude the Count invites the gypsies to 
the hunting dinner. In tbe course of the festivities Thaddeat refuses to drink the health of 
the ELmperot, and is about to be arrested when Drallihoof interferes and is himself confined 
in the Cnstle, while Thaddtiu is permitted to go. DeelUhco/ climbs from a window and 



VICTOR BOOK OF THE OPERA— THE BOHEMIAN GIRL 



1 the bridge acrou the 



ueola the little AtUm, making his eacape good hjr chopping dov 

Tsvine ■■ the soldiera pursue him. 

Twelve yenre elapae and 
we see the camp of the g3'p«e>, 
among whom Atiine ha« grown 
to be a beaubful girl o( vc^vea- 
teen. Thaddaa, who hai (alien 
in love with the young girU 
now tell, her of hi. love, and 
in a beautiful duet the lovera 
plight their troth. The Q/pv 
Qaeea, henelf enamored of 
Thaddaa, i. forced to unite 
him to Aiiine, but tecretly 
plana vengeance. Her oppor.- 
tunity aoon comes, aa she con- 
irive.to have ^fftneoccuaed of 
stealing a medallion from the 
young nephew of Count Am- 
hehn, who has come to the fair 
at Presburg, near where the 
gypsies are camped. ArUrtt is 
arrested and taken before the 
CounI, who in the course of the 

his daughter, from the scAr 
made by the stag in her child. 
.... iui.~, ..Luu^.<>i= n.= i,»„un..,i^n>.. .. fbe third Bct .hows-^rftoe 

restored to her position, but still secredy pining for her gypsy lover. DrvlUhoo/ contrives to 
get Thaddaa into the castle and he secures an interview with Arllne. They are interrupted, 
however, by the Coanl't approach, and Thaddaa hide* in a closet a* the guests arrive for a 
reception in honor of the newly-found heiress. 





the hiding place of Thaddaa. The C>unl asks for on explanation, and AtUne declares she 
loves Thaddaa even more than her father. The Ceiml, enraged, is about to attack Thaddait, 
when the young man reveals his history and proves himself to be of noble blood. The 
Coant then gives hi. consent and all ends happily. 



VICTOR BOOK OF THE OPERA— THE BOHEMIAN GIRL 



Many a( the moat effective numben from this pretty opera have been recorded by the 
Victor, betides the brilliant poOrauiri made by the Opeta Company, which includes no 
lew than seven of the moM tuneful biti. 

DOUBLE-FACED AND MISCELLANEOUS BOHEMIAN GIRL RECORDS 
(Overture to Bohemian Girl 
\ La Ctaiinc Mazarlta (Canne) 
a Dreamt I Dwelt in Marble Halli 
\Then Youll Remember Me 



rie Heart Bow'd Down 
Good Bye. Swaihtart 
rie Heart Bow'd Down 
Home to oar Mountain* 
rien You*ll Remember Me 
I'll Sing Thee Sangi of AriAy 
Then Youll Remember Me 
(Thea You'll Remember Me 
tl Dreamt I Dwelt in Marble Hall* 
rrhen Youll 
\ Villa Song 



Pryor'« Band) , (:,„- 

EliMbeth Whcelerl, ,„. 

Harry MacdonouBhr"''"' 

Herbert Goddsrd (Plane oce.)!,^-, . 

Herbert GodJardr*"*** 

Alan Turnerl,, .- 

Morgan and MocrfonougA/ ***''* 

Frederic Freemantel)-.-.- 

Hanv MacJonoaghr * 

Geortfe Hamlin 74134 



(Clas,) 



Harry Macdonoujhl , _„_ 
ElliaUlh WAee/er/^'*"'^ 



10>iach, fO.75 
10-iocb. .Ti 



10-ineh, .79 



1 2- inch, 1.25 



10-inch. .75 



5^35091 I2-ioeb, 



1.25 



Gema from Bohemian Girl 

Part of Overture— Chonw, "In the Gypay's Life "— Chorus, "Come with 
the Gypsy Bride "—Entr'act Waitt— Chorus. "Happy and Light" — "Then 
Youll Remember Me "—Finale. "Oh. What Full Delight" 
By the Victor Lifht Opera Company ■ 31761 12-ineh. f 1.00 



li 


i^Bi^jilj! 




B^ffii vXx ■ l! 


lEffll 


.^ 




CARMEN 

OPERA IN FOUR ACTS 



Text by Mellhac and Hal^vy, founded on [he novel of Proaper Mttimie. Muuc by 
Biiel. First production at the Opera Comique. Parii. March 3. 1875. First London produc- 
tion June 22. 1878. First New YorL production October 23. 1879. with Minnie Hauii. 
Some notable revivala were in 1893, being Calvfa Gist appearance; in 1905 with Caruio: 
and tbe Hammerstein revival of 1906, witb BreMler-Gianoli, Dalmorea. Gilibert. Trentini and 

Charicteri 

Don Jose, (ZJm H«..b,/) a Brigadier Tenot 

ESCAMILLO. (Ei^-mrtfiK) a Toreador Baaa 

DANCAIRO. {Dan^i/^rou,) \ | Baritone 

ElEMENDADO, {Rtm^nMK^ca) I """" ""^ t , , Tenor 

ZUNICA. (Zoo-ncc'.raA) a Captain Bast 

Morales. (.Mok-nH-htl a Brigadier Bau 

MICAELA. {Mih^v-at/Jahl a Peasant Girl Sopnno 

FRASQUITA. (f fBu-W-toW 1„ ,.. ,„ f Mezzo-Soptano 

., . . >Caypsiea, inenda ot (Jarmen -^ ,, „ 

Mercedes, iwo^w-"*™) > I . . , . Mezzo-Soprano 

Carmen, a Qgaretle Girl, afterwards a Gypsy Soprano 

An Innkeeper, Guide. Officers. Dragoons. Lads, Cigar Girls. G)psies, Smugglers. 



leanJPirioJ; Stalflt, Spain; tAaal 1820. 



VICTOR BOOK OF THE O P E R A — B I Z E T ' 5 CARMEN 

BIZET 

Georges Bizet was a native of Paris, where he was bom on October 25, 1838. Like 
Gounod and Berlioz, he won the Prix de Rome {Pree de Roam')\ in this case in 1857, the vear 
that his first opera, Dodeur Miracle, was produced. Among other productions CAiae Les Pecheurs 
de Perles, in 1863, an opera recendy 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 modem repertory. 

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

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

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, Carmtrt 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 atf ray with a rival factory girl leads to the gypsy *s 
arrest, and she is placed in the care of Jose himself. A few more smiles and softly-spoken 
words from the fascinating Carmen, and he is persuaded to allow her to escape. There is a 
sudden struggle and confusion — the soldier lets go his hold — and the bird has flown ! 

II 

Act II takes place in the tavem of Lillas Pastia, a resort of smugglers, gypsies and ques- 
tionable characters generally. Here arrives Eacamillo, 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 dcoices 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 Cartrien, 

III 

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

The final act takes place outside the Plaza de Toros, at Seville, the scene of Escamillo's 
triumphs in the ring. Carmtn 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 
scom, 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 OP THE O P E R A— B I Z E T 'S CARMEN 
Prelude (Overture) 

By La Scila Orcheitr* 
By La Sc^ Orchestra 
The Pielude to Carmen opena willi 
quick march in 2-4 time, on the following E 



The march ■• of an eKCeedingly virile and fiery description ■ 
preceding the bull-fight in the Isat act. Following th^ atin 
" ToTcador'a Song." leading to the inarch theme again. "" 
theniaelvea, are now followed by a short n 
ment in triple time indicating the tragic 
elusion of the drama. Here, the appealing notes 
of the brasa, heard beneath the tremolo of the 
strings, gives poignant expression to the pathos 
which lies in the jealous love of the forsaken /ok 
death of Carmen. This movi 
seventh as the curtain lisei. 

ACT I 

SCENE— >4 Puhilc Squok In Seville 



id is taken from the music 
listing march comes the 



■- gay V 



t of tl 




uted throng. In the fore- 

)uarters. The cigarette factory 

lies to the right, and a bridge 

across the river is seen in the 

background. 

Among the crowd which 
throng* the stage a young girl 
may be seen searching for a 
familiar face. It i* Mlcada, 
the maiden whom Joae 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. 

Tlie cigarette girls now 
emerge from the factory, fill- 
ing the sir with the smolce of 
their cigarettes, and with them 
Carmen, who 



salutal 
among then 



of her 



n by singing the 
gay tlabantra. 

Habanera (Love is Like a Wood-bird) 

By Jeanne Gerville-R^ehe, Contralto (In Fratch) SBZrs 12-inch. *3.00 

By Emma Cilvt, Soprano (tn French) 88085 12-inch, 3.00 

By Maris Gay, Mezzo-Soprano (/n llaltan) 92099 12-inch, 3.00 

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

rhythm always being delightful to the ear; and !t does not seem strange that Don /ote found 

it irresistible when sung by Cannen. 

Though often attributed to Bizet, the air was not original with him, but was taken 
from Yradier's ' 'Album Ja CAonKuu Eipagnolei. " TTie refrain. 



^ 



' i j._i, I ! ■ f i JJjj.r ^ 



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




For lov 



HABAMBRA.-"L(>n Ij like ■ Wood-Binl Wild - 

Caeueh: 

Ah! lave, thou art B wilful wild bir< 

If" it SlMK^Iire "iTlJ a rXr '" "" 

S»y. «-hc. can try and ihec reeUim? If thou mc lovcsi not 

Threati and prayers alike unheeding; And if I love Ihce, n 

Oft ardeul homage tbou'lt refuK, If thou mc lovest not 

Whilst he who doth coldly slight thee. But if I love you. i 

Thou for thy master ofl thou'tt choose. bewarel 

To • Wkc number ot opcRi-Koei'* and music-lovers there is but 

— but one exponent of auch rOlea as Carmen and Sanlazia, Calves Ct 

univeisally accepted as the Eieatesl of all impersonations of the role . 

Gerville 'Roche's Carmtn is a fine impersonation, on quiic 

original lines, her conception being based on a careful siudy 

of Minratea story and on the teachings of her Spanish iiiolhcr. 

Carmen, accordins to Mme. Gerville-RfBche, was a passionate 

and liclde woman, but not a vulgar one. 

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

Mia madre vedo ancor (My Mother 
I Behold) 

By ferataia de Lucia. Tenor, and Giuseppina 
Huguet, Soprioo {f^ano ace.) 

(Inllallan) 93052 ll-inch. I:» OO 

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

By Lucy Marsh. Soprano, and John McCormatk. 
Tenor (In French) 74345 12-inch, »1.50 

Now Mene/areturru. and finds the soldier ahe seeks. Mrtsong 
tells of the message of g^'eeting she brings Jt»e from his thoiIkt, 
and with it a kiss. The innocence of Micaela it here ii foil lo 
the riper attractions of the gypsy, and the music allotted to the 
maiden possesses the same simple charm; the conclu^ii.>n o< 
Micaeia'i air being a broad sustained melody of much beauty. 
Joae takes up the strain, as the memories of his old home crowd 
upon him, and the beautiful duet follows. 




VICTOR BOOK OF THE O P E R A — B I Z ET * S CARMEN 




And. bcndi 

Yes. I will tell 
What she bsB j 



ng elM? 



IMicliBefa jloxdi an lip-loe and kiiui Inu— 
n trn, mglhtrS Iliss.—JotI u mowd and 
aardt Michaih tenderly.) 



Micaeia leaves Kim after a tender 
farewell, and Joae begina to read hi* 
mother's letter, but ia interrupted by a 
commotion within the factory. Carmen 
has stabbed one of her companions, and 
is arrested andplaced under the guard 
of Don joae. The soldiers drive away 
the crowd, and Cam,a,. left alone with 
/ok, brinK* her powers of fascination to 
bear on the young soldier, partly lo facili- 
tate her escape, and partly because he 
has attracted her attention. Here the 
sings the Stguldllta. a form of Spanish 
country dance. 

Se^idilla (Near the 'Walls 
of Seville) 

By Maris Cay. Meiio- 
Soprano {In Italian) 

91085 10-inch, f2.0O 
By Margarete Matzenauer. 
Mezio-Sopraoo (In French) 

87103 10-inch, 2.00 
The SegulJllta is one of Spain's most 
beloved dances, and its rhythm is most 
faacinatinK- Bizet has given us a brilliant ezampli 
Ui Michael Carre's words. 




Nigh ti 



irily): 



walla of S 



y friend Lillis Pa^tia 



this dainty number, which he has set 



r.iS-S'.,! 



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




r*e1(, and whiling awaj 

B meeling-plBce on (he 

le play upon the feel. 

fated to be the cbum 



Although JoM aay* to hinuelf dut the eii 

the time with her gypay lonBi, the vrorda which fall _. . 

rampart! of Seville — of a aoldicr she loves — a common (oldier, all thi 

inga of /ote and rouse in him a love for the changeful gypiy. who i 

of his downfall- 
He untiei her handa, and when the ■oldien are conducting her to priaoD she pushes /« 

who falls, and in the confusion she escapes. 

Between Acts I and 11 is usually played a charming entr'acte, 

which ha* been rendered for this Carmen series hy Mr. Herbert. 

Intertnezzo (1st Entr'acte) 

By Victor Herbert's Orch. 6006r 10-inch, tO.rS 

ACT 11 

SCENE— ..4 Ttmrn In the Suhuihi o/Seollle 
The second act opens amid the Bohemian surroundings of the 
tavern of Lillaa Paatia ; the wildtunewith which the orchestra leads 
off deptcbng the freedom and gaiety with which the mixed char- 
acters here assembled are wont to take enjoyment and recreation. 

Les trintfles des sistrea (Gypay Song) 

By Emnu Calvf, Soprano 

{In French) 68124 12-iach. (3.00 
Cinncn 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 gsy guiurs the Bound 
On the air in cad=n« tinging. 
Quickly forth the gipsies (pringing. 

\Vhik wmbo™tn"'lhl'cTing"pro1ong, 
In rhythm with the music beating. 
And ev'ry voice i> hurd repeating 
The merry burthen of glid ung. 




VICTOR BOOK OF THE O P E R A — B I Z ET'S CARMEN 




But Canaen U thioLiag of the aoldier who went to prison (or 
her sake and who, now at liberty, will ahortly be with her. Her 
mucinga are interrupted by the arrival of a proceMion in honor 
of EtcamlUo, whoae appearance i* followed by the famous 
" Toreador Song." the moat popular of all Carmen numbers. 

Cancion de Toreador (Toreador Song) 

By Titta RtiSo, Baritone, and I^ Scala Chorut 

{htlallan) »2065 IZ-inch. *S.OO 
By EmUio de Gotforia, Bariioae, and New York 

Opera Chorui (In Spanlih) 881TS 12-Jnch, 3.00 
By Paiquale Amato, Baritone 

(In Italian) 8832r la-inch, 3.00 
By Giuceppe Campanari, Biritoae 

(/n hatien) 85073 12-iach. 3.00 
By Alan Turacr, Baritone 

(In Englith) *ltS2\ 10-inch. .75 
By Franeeieo Citfada, Baritone; Giuaeppina 
Hu^et. Soprano; Inei Salvador, Metto- 
Sopraao; and La Scala Chorua 

(/n/foAon) *6Z6ia 10-tnch. .79 
No leas than six rendiliona of this univeraal favorite are 
offered by the Victor for the choice of cualomers. 

After Etamtlla's departure. Carmen 'i comrades invite her to 

part upon a smuggling expedition, but ""'' '"^'^ 

she refuses to atir until ahe sees the c«u»o as boh joss 

soldier for whom ahe is waiting. TTieir 

efforts to persuade her hoa been put by Bizet into the form of a 

brilliant quintet. 

Quintet- "Nous avons en tete une a£Faire" 
(W^e Have a Plan) 

By Mmea. Lejeune. Soprano: DuchSnc. Meizo- 
Soprano; Dumeanil, Soprano; Mm. Leroux. 
Tenor; Charles Gilibert, Baritone 

(In Fraich) 88237 12-incli, tSJOO 

Thia ia one of the favorite numbers in Bizet's opera, and at th« 

aame time one of the moat difficult imaginable. When aung aa 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 moat 
competent corps of singers, who were under the direction of the late 
Charlea Gilibert, himself the most famous of RanendaJoa. 

Joac'i voice being heard outside. Cimien pushes her compan- 
ions from the room, and greeting him with joy. questions him about 
hia tvro months in prison. She then tries her fascinations on the 
stolid soldier to induce him to join the band of smugglers. Ctrmsn 
dances for the soldier while he watches her with fascinated gaze. 
Her efforts arc useless, as he is reminded of his duly when he hears 
the bugle in the distance summoning him to quarters. "Then goi 
I hate you 1 " says Carmtn, and mocks him, singing 




All t 



pItsK y 



. I gsily « 



She is furious, and pitches at hir 
•DaM-FaaJ/tmiril—Foraikafin 



his cap and sabre, and bids him begone. 
««■ .(A « DOUBLBfACED CARMEN RECORDS. » 



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



Air dc la fleur (Flower Sonf) 

By Enrico CtiuMO, Teaor 

UitFrtnch) SS20S 12-inch. *3.O0 
By Eurico Camao. Tenor 

{In Italian) 88209 12-iach, 3.0O 
By Cbarles Dalmorei. Tenor 

[In French) 85122 12-mch. 3.00 
By Hemun Jaillowker. Tenor 

(In Fnnch) Z6027 12-inch. 2.00 
By Fernando de Lucia. Tenor 

(/n Italian) ffrOOl 12-inch, 2.00 
By Evan Williama. Tenor 

(In English) 74122 12-inch, 1.90 
By John McCormack, Tenor 

(In Italian) T42I8 12-inch. I.»0 

Deaperate at the thought of loamg her forever, lion 
/oh ahovra her the flowera she threw him at their first 
meeting, and which he had preserved, then singa this 
hively romance, beginning : 





» .cemiugfl: 
ision (or th< 



igglc between love and duty which has been distri 
[ly (orgotten. and he poura out hia heart in thia 
' 'iful but heartless gypsy. 



telling only of hia great 




'Mid prison wiV^Yve kepi?' Iho^ided : 
Tho' withered quite, Ihc tender bloom 

Niglit and day in darkness sbidins, 
I the Irulh. Carmen, am canfiding; 
Us loved odor did I inhale. 






, I Ipv 



. Cotj't 



been written expressly for 



The number might 
Caruao, so well does it suit his voice and style. Une can 
but marvel at the masterful eaae of phrasing, and the 
warmth of vocal coloring imparted by the ainger. The 
changing moods of the lover are here indicated with dra- 
matic expression — the regret at the havoc Carmen has played 
with hia life mingling with the devotion for her he still feels. 
This is a remarkable and memorable perfotmHnce. the whole 
song being lighted up with that rich vocal beauty and artis- 
»., . ^.r... ^'^ genius which belong only to a Caruao. 

DE LussAH iks CitauEN Other line renditions, at varying prices, in both Italian 

and Engiiah. are also offered. 
Carmen then painta the joys of the gypsies' life which might bs Joae's, if he would desert 
his regiment and follow her. 



VICTOR BOOK OF THE OPE 



lA— BIZET'S CARMEN 



Las baa dans la montagne (Away to Yonder Mountains) 

By Enuns C>1vi, Soprano, and Charle* Dalmore*. T«nor 

(/nFrencA) 8»01» 12-mch. t4.00 
The loldier liitotu willi half-willing can. hi* voice joining hera at the cloae, in a lorely 



For roof, ihe <<ky—t - 
Far country, ihc whole 
rhy will Ihy master; 
And abovt alt'^inoBt p 



Jose 



a of Carmen'i faacinationa, Jon 



n to his duty, when the 



e hia captain uaea i 
St. and Uie smuggler 



overpovref ad and hound hy the g 

Araf^onaise (2(1 Entr'acte) 

By Victor Herbert'a Orchestra 70067 12-iach, *U9 

By L« Scala Orcheitra {DoaUt-fiietJ—Stt mo 60) 62102 lO-inch, .79 

The retreat in the mountaina is muaJcally deacribed by thia pastoral intermezzo. A 

dreamy melody given to the Bute, with a pUxIcalo accompaniment, is taken up by the othai 

'n turn, the atringi joining in the coda. 




VICTOR BOOK OF THE O P E R A— B I Z ET'fl CARMEN 




ACT III 
SCENE— ^ fVlU mJ Roch Pau In tht Momtalnt 
Ai the curtain ri*e«, the imusglen are aeen entering their rocky loir. Here occun the 
(amous aexlette, B portion of which ii given in the "Gema from Carmea" Ipagt 60). 

The imugglen prepare to camp for the nisht. It i« evident that /mc i* alreaclr repenting 
of hia folly, and that Carmen la tiring of her lateit lover. After a quarrel with /oie. ihe joini 
Fmqalla and Mtrctdtt. who are telling fortunes with cardt. 

En vain pour eviter (Card Song) 

ByLavindeCaau,Meiio-Sopraao(PFanai>cc.)i.'^'>f'<>''<"i) *62617 lO-inch. *0.73 
Carmen tells her own fate \>y the card*, 
reading death, lir*t for herself and then for her 
lover. In vain she shuffles and re-tries the 
result; the answer i« ever the same. 

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

The neighboring camp being ready, the 
■muggleiB retire, and the stage is once more 

Je dia que tiea ae m'epouvante 
(Micaela's Air,*' I am not Faint- 
Hearted") 

By Geraldine Farrar, Soprano 

(/nFrencA) 86144 12-iiich. *3.00 

By Alma GlucL. Soprano 

(/n FrencA) 7424S 12-inch. 1.90 

Into this strange and wild scene now enter* 
Micatia, the peasant sweetheart of Dan Jott, 
who has forgotten her in his fascination for the 
wayward Carmen. Micecia has braved the 
dangers of the road to the smugglers' retreat, 
whither Don /ose has followed Carmen, to carry 
to the soldier a message from hia dying mother. 
The iimocent girl is frightened by the vast and 
>lJt H DOUBLESACED CARMEN RECORDS, mk 60. 




VICTOR BOOK OF THE O P E RA — B I ZBT'S CARMEN 



lonely mounlaina, and ii 
louily confening I 
n who haa led him awqr from hia duty. 



iul I kno* I'm ■ 



coward, sllho' bold I 

U up my courage. 

cad chill mr saJ heart 



Who by infernal 


ana dolh 1 















The young girl, hearing a ahot 'fired, tun* 
«, who i* Kuarding ihe (mugKlen' effect*, hi 
em at him. It orovea to he Etcamlllo, the loi 



to join CarTiwn. He appear*, examining 
Joit'i bullet had gone through it. "Whc 



"la, 



ive in (righL 
•tianger and 
ho ha* come 
ue(ul gaze, BaTicHtii 

ire you I aayi the latter. 

:■ the bull fighter. 

two famoui artist* of the Pari* OpA 




Je suia Escanullo (I am Escztuillo I) 

By LioQ Beyle. Tenor, and Hector Dufraaae, Baritone 

(Ow^/oad— &> pofc 60) {inFnnch) 62750 lO-inch. *0.T5 
The two men compare note*, and learning that they are rival*, Jmt challenges the other 
to a duel with Icnivea, which la interrupted by the timely arrival of Carmen heraelf. Thii 
dialogue, with the fiery duet at the cloae, well depicts this exciting scene. 

A popular priced rendition by Beyle and Dufranne, of the Opira, i* listed above. 

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

By Antonio Paoli, Tenor; Giuaqppina Hufuet, Soprano; 

Incs Salvador, and PrancMCo Cicada (in Italian) 92039 12-inch, tS.OO 

A dramatie *cene between Connen and /oat is interrupted by Mlcada, who begs }<at to 

return to hi* mother; and Catmtn. with fine scorn, echoes her request. Thua to leave hia 

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

from the gypay ""til death. 



•)'S 



Duicfcly; Bla* not here 
f HCe ii not for thee! 



Thy mothe 



No. Can 



will n 



That h 



o the fan 



The message from his dying mother, however, decides him; he will go. but vow* to 
return. In thi* wild and tuihultuou* number the jealotia anger of Jote give* n*e to aome 
highly dramatic singing, delivered with extreme intenaity and power by Paoli, the tragic 
theme at the close being introduced with meaning effect. The Toreador chorus indicates 
the triumph of Eacamlllo in the gypsy's attentions, and thi* with the OTche*trBl close slowly 
siidting to rest brings the powerful act to a finish. 



VICTOR BOOK OF THE O P E R A — B I Z ET'S CARMEN 




ACT IV 

(A Sqaan In SaHlk. Uilh tht walU of tht 
Bull Ring lAoum al tht hack) 

Prelude 

By Victor Herbert'* Orchestn 

70066 12-inch, *US 

The fourth act opeiu with B 
momentaiy hrightnen. Outaide the 
Plaza dt Tofo,. in Seville, bh Bnimated 
crowd awaits the procesiion about to 
enter the ring' Tbii (hort movement 
ia a quick bustling one, only the plaint- 
ive oboe solo indicating the tragedy 
which ia aoon to occur. The playing 
o( this striking prelude is on the aaine 
artistic level which mark* each of the 
renditiona by this Famoua orcheatra. 

This scene, as the orange sellers, 
hawkers of fans, icea and the reat. 
preaa their ware* on the waiting crowd, 
ia extremely gay, and atfords welcome 
relief from the intensity of the drama, 
the bull-light, now enters, and all join in 



Se tu m'atni (If You Love Me) 

By Marfarete Matieniuer, Meiso-Soprano ; Paaquile Amato. Baritone: 

with Metropolitan Opera Choru* [In Italian) 89061 12-inch. *4.00 

By Inez Salvador, Meizo-Soprano. and Franceico Ci^da, Baritone 

(Da^k-facei—Sei pc^ 60) {In llallan) 62102 lO-inch. ,79 

EKomllh takes farewell of Carmen before entering the arena. He promises to fight the 

better for herpreaence, and she. half conscious of what ia coming, avow* het readineaa to 

die for him. Thia number ia full of lovely melodic* and one of the moat beautiful records 

of the Carmen 




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



Duetto e Finale (Duet and Finale) 

By Maria PsMcri. Mezio-Sopraao : 

Antonio Paoli, Tenor: tad I* Scila 

Chorus 920S0 12-inch. tS-OO 

/oM now enten and makH a laat appeal, which im dramatic 

in it* intensity. It lakes the Eorm of a swinging melody to an 

inaiMent triplet accompaniment. To each lequeat ot her lover, 

Caimen add* her disdainful negative, recklea* oi the danger which 

threaten* her. 



j« 



•'"'•■: 



l/2G1„ I 







Carmtn'i last rehual, ai she fling* 
him back hi* ring, route* the soldier'* 
jealouiy to madnes* and he ttah* her to 
the heart. A> she (all* the succeaa of the 
ToruK/brintheaiena is announced by the 
singing of his well-known refrain. The 
last note* of the opera are a few pitiful 
tone* from the stricken /ok addre**ed 
to the mute form of his beloved. 

Thi* i* another truly powerful 
record by Paoli. worthy of a climax such 
a* thi*. The music is delivered with the 
realism and eamestnesa beyond the 
reach of all but the very few tenon, and 
it enable* the listener to Fully realize the 
atres* and pathos of this moving dra- 

DOUBLE-FACED AND MISCELLANEOUS CARMEN RECORDS 
Carmen Selection By Pryor** Bind 31562 12-inch, (LOO 

/CsrnieD Selection By Sous*'* Band) , 

I Fraichutx—OctHun By Soau'i Bandf^ 

{Carmen Selection By Pryor*s Bandl , 

Manon—Jlh I /uya Joace imagt ! Bs, M. '^occo, Taiotf ' 

The selection begin* with the brilliant and animated Prelude, the first part of which is 

given, including the refrain of the famous ^ j^;'^''^ 

"Toreador Song." Then is heard (as 

solo) the quaint "Habanera," i^~^^ "^ /; ^ ^.^'Lk'' ~^~ "- Z^ ^—.. 

with its curiously varied ihylhm, its chromalic melody and the changes from minor to major 
which are so effective. With the last note the hill hand takes up the rollicking chorus of 
street boys from Act I. and after a few meaauTe* there , 
appears suddenly the weird strain from Act IV when P 
Camun hurls at ZXm/ose her last defiance. ^ ~i ~ 

The spirited introductory strain returns, closing the selection. 



^SSr 



j^390OO 13-inch. 1^5 



10- inch. 



59 



VICTOR BOOK OF THE O P B R A — B I ZET'S CARMEN 



DOUBLE-FACED AND MISCELLANEOUS CARMEN RECORDS— CoDtinued 
Gems from Carmen 

ChoruB, " Here They Are " — Solo Bnd Chorus. " Halxipera " (Love ii Like 
a Bird)— Duet. "Again He Seea Hia Village Home "—Sextette, "Our Chown 
Trade "^Solo and Cboiua, " Toreador Song " — Finale. 

By Victor Li^bt Opera Company (h Engluh) 31S43 12.ineli. *1.00 
An amazing number o( the moit popular bita of Bizel'a maaterpiece have been crowded 
into ihii attractively arranged potpourri. 

(Habanera [IVhiUling) By Guido Gialdinil ,.,,- ,_ . ^. j. „ 

i The Prttlu Maiden (Jfy/opAone) Bs, Ptter Ltuinr°^" 10-inch, W.75 

(Toreador Song By Alan Turner, Baritone (In £n(A«A)) 

TFooaloFc—Ttmltai of the Htarl k6521 lO-ineh. .19 

Bs Jtlan Tama, BariCane {In EnglUh)] 
»relud« (Overture) __ _ By La Scda^Orchcaf.LgPj,^ ll-inch. 1.29 



) Prelude (Overture) By La Scala Orchestra) 

Scena delle carte (CardSonfi) By Lavin de Caiaa. Mcezo- >62617 lO-ittch, 
Soprano (Piano tux.) (In llallan)] 
I CaitEoae del Toreador (Toreador Sonf) By F. Citfada. Bari- 1 
Caealleria Riallcana—lnlemexio Bg Piyor t Otchtitra} 

ilntermezio — Acto III. Aragoruiae La Scala Orehe>tra.MiIan| 
Setum'ami (If You Love Me) By I net Salvador. Metto- [62102 lO-inch, 
Soprano: F. Cigada. Baritone (/n Ilallan)] 

(Je »uii Eacamillo {I Am Eacamfllol) By Lion Beyle. Tenon I 
\ Hector Dufranne. Baritone (In Fnneh) 162790 10-inch. 

\ VaLe da Hota (Mara) fis Mile. LacetU Koai^. Soprano (FroKh) \ 
fPreludio, Acto IV By La ScaU Orcheatraj 

\ Nanna—Mira o Norma— By Ida QiacamelU. icprana; Una Mlltri, }62101 lO-Inch. 
I CenlialU, (In Italian)] 

(Carmen Selection (Xsiofihone) By Wm. ReitiK^ggj lO-inch 

I Bohen«~Ma«aa Wallx (WhUlIng) Bf Galdo QaUlnir'"''''^ lO men. 





CAVALLERIA RUSTICANA 

(Eadub) 

RUSTIC CHIVALRY 

OPERA IN ONE ACT 

Libretto adapted Froro th« book of Verga by Tarsioiu-Toizetti and Menaac 
Maacanii- RrM production in Etome, May 17, 1890. Fint LondoD produc 
Sbaftetbuiy Theatre. 1691. TirM American production in Pbiladelphio. 1691. 



SANTUZZA. (,&Bt*K/-ah) a village giri Soprano 

LOLA. (LpJ-U.) wife of Alfio Moao-Scerano 

TURIDDU. (Ttt->m'-*») a young aoldier Tenor 

ALFIO, lAf-M^A) a teamMer Baritone 

LUQA, (Lanlm'-ah) mother of Turiddu Contralto 

Choru* of Peaaanta and Villagen. Chorua behind the icenea. 

The wcnc It lalJ In a Sldllan olUage. Time, the preteat. 

THE COMPOSER 

PietTO Maacagni, aon oi a baker in L^gkam, waa bom December 7, 1863. Deitined by 
bii father to aucceed him in buaineaa, the young man rebelled, and (ecretly entered the 
Cherubini Conaervatory. He began compoaing at an early age, but none of hia worka at- 
tracted attention until 1890. when he entered a conteat planned by Sonzogno. the Milan 
publiiher. Securing a libretto baaed on a simple Sicilian tale by Vetga, he compoaed tho 
whole of thia opera in eight daya, producing a work full of dramatic Bre and rich in Italian 
melody, and eaaily won the prize. Produced in Rome in 1S90, it created aaenaation, and in 

NOTE— Tim ^lIMamfnm Cmea&rta Ra^kax an ftnai iv ilnJ permli^aii rf G. SchnmrACttv'l 1891 .> 



VICTOR BOOK OF THE OPERA— CAVALLERIA RUSTICANA 



B ihort time hu became one of the most popular o( 
ope™. THE STORY 

Tariddu, a young Sicilian peawuit, returns from the 
war and lindi hia ■weelkeart. Lola, hai wcddeil Aifio, 
a cBTler. For conaoladon he paya court to Sanluzta, who 
loves him not wisely but loo welL Tiring of her, be turns 
again to Lola, who seems to encourage him. 

Prelude 

By La Scala Orchestra *39104 12-iach. tU9 
By Ve**elU'( lulian Band 

31831 12-incb. IJM 
The Prelude takes the (oim of a fantasia on the 
principal theme* of the opera. Maacagni's lovely melodies 
are played with exquisite tone and expiesaion, while at 
the climaxes the entry of the brass is most artistically 
managed. Thi* is hand playing of a high order, and 
certainly the best record of the E^relude we have heard. The 
La Scalv Orchestra record is also a most interesting one. 

During the prelude Tariddu « voice is heard in the charm' 
ing Sidtlana, in which he tells of his love for Lo/a ; 



Siciliana (Thy Lipa Like Crimson Berries) 

By Enrico Caruio. Tenor (Harp ace.) (/n nallan) 87072 10>iach. tZJtO 




By Enrico Caruso, Tenor (Plan 



By Leo Slctak. Tenor 

By Carlo CsSetto. Tenor (Rano ace.) 

It is sung behind the scenes, before the rise of ihe 
tain, making it peculiarly effective. At the cIoh: of the 
number Tarldda '$ voice is heard dying away in the distance. 
This ^ecresceni/o passage is exquisitely sung by Caniao. 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 (Scbirmer Edition, 
copy't 1691) is given here. 

TllBIDDU: 

O Lota, wilh thy lips Yikt ciimson bfrries. 



(h Italian) 81030 10-inch. 2,00 
(/n Ilaltan) 64387 lO-inch. 1.00 
(In German) 61202 lO-inch, l.OO 



[In Italian) *62620 



n ihou 
hould cl 



t then 



icf I 



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

SCENE— ^ Squart In a Sicilian Village 
After Ihe Sidliana the chorus of villagers is heard, 
also behind the scenes, and during this chorus the curtain i 

rises, showing a square in the village, with the church 
at one side and the cottage of Turtddu't mother on the othei 
^DaaikJ'iieaiRicord—Fiir lUk Kifoppotllt tiJc h JmAk-faaJ lltl, page 66. 




VICTOR BOOK OF THE OPERA— CAVALLERIA RUSTICANA 

Gli aranci olezzano (Blossoms of Oranges) 

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

By La Scala Chorus (In Italian) *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 Affio, who appears and sings a merry song. 

II cavallo scalpita (Gayly Moves the 
Tramping Horse) 

By Pasquale Amato, Baritono 

(with MetmpolHan Opera Cho, ) (In Italian) 

87097 10-inch $2.00 
By Renzo Minolfi, Baritone 

(In Italian) *45003 10-inch, 1.00 

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

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

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




IT, fARII 

AMATO AS ALFIO 



(In Italian) *68218 12-inch, flJK 5 



Retina Coeli (Queen of the Heavens) 

By La Scala Chorus 

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

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




as she pours out her sad history to the sympathetic Mamma Liida. This is one of the most 
powerful numbers in Mascagni's work. 

Voi lo sapete (Well You Know, Good Mother) 

By Margarete Matzenauer, Soprano (In Italian) 88430 12-inch, $3.00 

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

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

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




*Doabk-Fat*J Record^For Oik qfoppoMe tide tee ioiMt-faoed /M. page 66. 

63 



VICTOR BOOK OF THE OPERA— CAVALLERIA RUSTICANA 



Then tkn thought of her 
at the feet of Uie sentle 
ptay (or the wretched vr 




riviJ. Lola, retuma and ihe givea way to deapair, ihrowiog hetaelf 
nother of TuriJda, who ii powetlen n> aid her and who can only 






d Turiddu 



and 1 V 



mu- 



le ntimber, by ihtee famoua 
e church just aa 



Three Jine renditiona of thia 
•opranoa; are offered (o muaic li 

Loela triea to comfort her and paasea ii— . 

TarldJu appeara. He aaka Sanluzea why ahe doea n 

She laya ahe cannot, and accuBci him of treachery, which pula him 

in a rage, and he tella her brutally that ahe ia now nothinK to him. 

Tu qui Santuzza (Thou Here, Santuzzal) 

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

(fn Italian) *5S02a 12-inch, H.SO 

No. No. Turiddu 

By Beaalii and Ciccolini (Italian) '95022 12-in„ 1.50 
Thii acene ia now interrupted by LiAa 'i voice, heard behind 



the: 



«): 



None 111 
That l> 
My kini 






her power by taking Tartdda into t 
ima to Alfio, who now entera, and te 
preaent thia powerful acene. 



She enten; and divining the aituation, ahowa 
church with her. Frantic with iealouay, Santiaxa ti; 
him that hia wife ia falae. Two recotda ate requite 

Turiddu mi tolse (Turiddu 
Forsakes Mel) 

By B. Beaalii and E. Badini 

{InllaHan) *9S021 12.inch. *1.»0 
By Clara Joanna, Soprano, and 
Renio Miaolfi. Baritone 

{In Italian) *45(X>2 10-inch. l.OO 

Ad essi io non perdono (*Tia They 
"Who Are Shameful) 

By Clara Joanna and Renio Minolfi 

(/n Italian) *45002 10-inch. *1.00 

^^OBureara vengeance, ^vhile.^im'iu'a already 

regreta het diacloaure. but ia powcrleaa to prevent 

the conaequencea of her revelation. They go out, 

leaving the atage empty, and the beautiful Inter. 

Intermezzo 

By Victor HerbeM'a Orcheitra 

600r4 10.in„ »O.I5 

Pryor** Orcheatra *62616 10-in.. .79 

Victor Orcheatra 4184 10-in.. .60 

The inatantaneoUB popularity of thia aelection 

waa lemarkable, and in no small meaaure helped santuzza pieadihg with iuhiddu act I' 

tomakeCandf/crJa AuiHconathe tremendouaaucceaa (deiii.vn and caiuso) 

that it waa. Theae records bring out the beautiful melody — the harp lending ■ lovely back- 
ground of peaceful harmony — and makea the Inlermeixo a tone picture of exquiaitc coloring. 
'DvAkfaaJ RtctiJ—FtrlOk aftppoM Jii n 




VICTOR BOOK OF THE OPERA— CAVALLERIA 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 (Noiv Home^ward) 

By La Scala Chorus (In Italian) '^'^^Ol^ 10-inch, $1.00 

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

Brindisi (Drinking Song) 

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

By George Hamlin, Tenor (In Italian) 64245 10-inch, 1.00 

In striking contrast to the prevailing tragic tone of Maacagni's opera comes this merry 
drinking song, which Turiddu sings as 
gaily as if he had not a care in the world, » » m |<p« g 0* m h 
although at that moment the culminating \fi' ^ \^ ' ^ 'I 
tragedy of the duel was close at hand. 
Turiddu calls to the crowd about the inn : 

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

TuaiDDu: 

iiail the red wine richly flowing. 
In the beaker, sparkling, flowing, 
Like young love, with smiles bestowing. 
Now our holiday 'twill bless. 

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

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

Very well I 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*a 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. 



te-m.Kaal:cL «Hb 





Hail the wine that flows and bubbles. 
Kills care, banishes all troubles, 
Brings peace, pleasure it redoubles. 
Causes sweet f orgetf ulness I 



Addio alia madre (Turiddu*s Fare^well to His Mother) 



By Riccardo Martin, Tenor 

By Gennaro de Tura, Tenor 

By G. Ciccolini, Tenor 

By Giorgio Malesci, Tenor {Piarw ace) 

TuAiDDU (calling): Mother! 
(Enter Lucia.) 

Exciting surely that wine was. 
I must have taken 
Too many cups 
While we were drinking! 
For a stroll I am going. 
Hut first, I pray you. 
Give vour son your blessing 
As when I left you 
To become a soldier! 
If I return not, you must not falter 



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



{In Italian) 88277 

(In Italian) 76015 

(In Italian) *55021 

(In Italian) ^^62620 

To Santuzza be a mother! 

I have sworn to shield her 

And lead her to the altar. 
Lucia: 

Why speakest thou so strangely? 

My son, oh, tell me? 
Turiddu (nonchalantly): 

Oh. nothing! the wine 

Mas filled my brain with vapors! 

O pray that God forgive me! 

One kiss, dear mother! 

And yet another! (He rushes off.) 



Finale to the Opera 

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

and Chorus (In Italian) ^^45003 10-inch, $1.00 

Luda is distressed and bewildered, and calls after him despairingly. Confused cries are 
now heard and a woman screams ** Turiddu is murdered I ** Santuzza and Lucia sink down 
senseless, and the curtain slov^ly falls. 

*Dotthle'Faced Record — For HUe ofoppoMe $lde tee double-faced list, page 66. 



65 



'5S021 12-L 



VICTOR BOOK OF THE OPERA— CAVALLERI A RUSTICANA 

DOUBLE-FACED AND MISCELLANEOUS CAVALLERIA RECORDS 
Sdection— Part I By Victor Orchcftra 31097 12-Lach, *I.OO 

Selection— Part II By Victor OrcheMra 3105S 12-inch, l.OD 

Gems from ** Cavalleria Ruiticana" 

"Bkraaomt of Oranftes " — "Alfio'« Song" — Lola'* Ditty, " My King of Roaei" 
— " Santuzzs's Aria " — "Drinking Song"— "EaMer Oionia" 

By Victor Opera Company (In Englith) 31874 12-ineli, l.OO 

Furiddu. mi tolic (Turiddu Foriakei Met) By 
B. Beialtk, Soprano, and E. Badini, Baritone (/n Italian) 

lamma, quel vino i (eneroio (Mother I the 'Wine 
Cup too Freely Panes) By G. Coccolini. Tenor (/n llidlan) 
|Tu qui Santuiia (Thou.Santuiia) B; Beialil and Ciccolini 
|No, No, Turiddu — ■■- . ^ - 

(Prelude 

(Selection ("AlGo'iSnaf." "Euto-Chanle. 

jCoro d' Introduiione By I4 Scala Chorua {In llallan)\,a^. - ... . 

IRetfina Coeli By La Scala Chorum (In //a/tan)!'*"*"' la-mcn, 

iTuriiUu. mi toUe Tonore (Turiddu Forsake* Mel) | 

i By Clara Joanna and RcdeO Minolfi (/n Italian) U9002 10-inch. 

I Ad erai io non perdono —By Joanna and Minolfi {In llallan)] 
Finale dell' Opera— By Clara Joanna. Soprano: Sra. ) 

< Rumbelli, MezEO-Soprano : and La Scala Chorua {In Itallan)\AS003 10-inch. 
Ill cavallo acalpiti By Renzo Minolfi, Baritone (In llallan) | 

lAcau.acaaa (Now Homeward 1) La Scala Chonii (/'o/lon)i ..-, . ,- . . 
\ Gu8lidn» Raldiff-Padrt Ni»t„> Mu^ni and M„llnari (/(<./i<,n)r * >0-">Ch. 

ilntermeiEO By Pryor'a Orchestral 

Catmen — Tanadar (Blzel) l626 1 8 1 0-inch, 

£^ Q^da. Hugutt, Saleador and Chcrua (In llallan) \ 
fAddioatlauMdre (Pianoaa.) ByGior^io Malewi.Tenorl.--,. ,_ - „j. 



Santuiia) B; Beialfl and ^.iccolini ^.ntt tt j_->. ■ <n 

By Beaali and Ciccolini (In Itallan){"°^^ 12-inch. l.SO 

By La Scala Orcheatral . ,, - . , ,. 

:,"-Im™aH.") Pryor-.B/'"*'* 12-mch. 1,25 



iSiciiiana {Pimo 



By Carlo Ca£Fetto, Tenor)" 




(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 FoUea 
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 



ROBERT PLANQUXTTE 



Time and Place : Normandy ; time of Louis XV. 

The Chimes of Normandy abounds in striking numbers, 
and the music is full of gayety and French grace. It has had 
no less than six thousand performances, a testimony to its 
enduring place in popular appreciation. 

The opera opens in an old Norman village, where a fair is 
in progress. Henri, the Marquis of Valleroi, has just returned 
to his native town after an absence of many years. The 
village gossips are discussing with vehemence scandals about 
Serpoleiie, the village good-for-nothing, who arrives just in 
time to vindicate herself by turning the tables on her traducers. Gaspard, the miser, has a 
plan for marrying his niece, Germaine, to the sheriff, but the young girl objects, telling him 
that if she must wed she feels it her duty to marry Grenicheux, a young villager, in gratitude 
for his saving her life. To escape the marriage, which is distasteful to both Germaine and 
Grenicheux, and to fly from the vengeance of Gaspard and the sheriff, she and Grenicheux take 
advantage of the privileges of fair time and become servants of the Marquis. 

In the second act 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 f6te to which he invites all the villagers, including the crazy Gaspard, SerpoleUe 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 Comeville 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 Til Neer Forget"— "Bell Chorus"— Finale. 

By the Victor Light Opera Company 31788 12-mch, $1.00 

Selection of the Principal Airs 

By Sou8a*8 Band 

{Selection of the Principal Airs 
Naila Intermezzo (Pas des Fleurs) 

{Selection of the Principal Airs 
Poet and Peasant Overture {oon Suppe) 



31180 12-inch, 1.00 

By Sou8a*8 BandV^^.Q . -^ . * , .^ 

By Pnn>r's BandP^^^* 12-.nch. 1.25 

By Pryor's Band\- ,^^- ^^ . , 

By Pfyor-s BandP^^^^ 12-.nch, .75 



67 




LA DAMNATION DE FAUST 
DAMNATION OF FAUST 

Hector Berlioz'* dramatic lesend in (our psiU: book baied on de Nerval'* version oF 
Goetho'i poem, partly by Candonniere, but completed by Berlioi him*el(. First performed 
December 6. 1846, at the Op^ra ConUque, Paria, in concert (orm, and in New York under 
Dr. Leopold Dsmio*ch in 1680. It wa* given at Monte Carlo a* an opera in 1903. FifM 
American petformanee of the operatic venion in New York, 1908. 

Cast 

MARCUERfTE (M<iAr«Dcr«/ ) Soprano 

Faust (Femll . Tenor 

MEPHISTOPHELES {Mt/.ln^tl-ka) Baritone or Baaa 

BRANDER Ba*a 

Place : A German olUage, 

THE COMPOSER 

No one to-day doubt* the geniu* o( Berltoi. and critici are almost unanimou* in prabing 
hi* originality, hi* spontaneous force and immenae creative power. Lt Damnation de Faiul, 
hi* best known work. oriKinally written a* an oratorio, but which ha* since been adapted 
for the stage, wa* first produced in 1846 and met with a cold reception. Ten years after 
hi* death, however, what a change began I A Berliox memorial in Paria, at the Hippodrome, 
where thouaand* were turned away: Berlioz monuments erected in Grenoble and other 
citie* of France ; and finally, the production of Damnation of Faust aa an opera at Monte Carlo 
in 1903, amid *cene* of the wildest enthusiasm. 



VICTOR BOOK OF THE OPERA — BERLIOZ'S FAUST 



In hia "Fault" Berlioz hu 
givsn UB a muiicsl legend which 
hsa all the picturesqueneu of 
the orisinal work. 

Whatever •evere critic* may 
•By of it> metila in the highest 
ajtiUic aenae, it ia neverthelesa 
a wonderful work. Strange 
eccentticitiea and laie beauticB 
are found *ide by aide; even 
the wild orgie of Cenda called 
"Pandemonium." which almost 
tranagreaaea the license of Beniua. 
muat be admired for its aatound- 
ing orcheatral effecta. On the 
other hand, there are melodies 
o( puieat beauty, auch a* the 
numben for Margverii 










in the opera are those written by Berlioz for Mephtitophtla. three of which hav 
moil effectively rendered for the Victor by Plan^n. 

THE OPERA 

Berlioz, disregarding Ooethe's poem, located the opening scene on a plain in Hungary 
simply to excuse the interpolation of the Rakoczy March. We quote Berliox himself 
here: "The march on the HunEarian 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 
acroaa the plain ivhere he is ivandering in reverie." But Raoul Gunsbourg, who adapted 
the cantata for the stage, changed the first scene to a room with open windows showing the 
■ dancing and the military passing by to the strains of the Hungarian March. Here 



Faiut soliloqui 




Hungarian (Rakoczy) March 

By Soma's Baad I.Do<,kk-faad,Ktt,7l) 6SOft2 12-in.. *1^S 
By Sousa's Band 31424 13-in., l.OO 

This is Berlioz'a treatment of the famous "Rakoczy March," 
known aa a national Hungarian melody for a hundred years. Its 
stirring meaiurea so fascinated the compbaer that, contrary to his 
original intention, he laid the scene of hia " Faust " le^nd in Hungary 
in order that he might make use of this wild and pulse- quickening 
melody. Hia treatment of it ia brilliant in the extreme, and it 
remaina one of the most effective portions of his "Faust." 

In thia connection it is interesting to remember that LJazt. 
ahhough a warm friend of Berlioz, considered bimaelf aggrieved 
and wrote to Mme. Tardieu in I8S2: "My transcription of the 
Rakoczy March ' * * is twice as long as the well-known version 
of Berlioz, and it was written befen hia. Delicate aentiments of 
friendship (or the illustrioua Frenchman induced me to withhold it 
from publication until after his death. * * * In writing it he 
made use of one of my earlier tranacriptions; particularly in the 
harmony." 

Scene II shows Faail alone in his study, as in the Gounod 
version. He is about to take poison, when the strains of the 
Blaster hymn come from the adjoining church and arrest his purpose. 
MephlslopheUs then appears and suggests that they go forth and 
see the world together, to which Fauil consents. 

In the third scene Faast and Mtphistopbtta go to a beer cellar in 
Leipaic, where students and aoldiera are carousing. BianJer aina 
hia song of the rat, which aa in the Gounod opera, meets witn 



VICTOR BOOK OF THE OPE R A — BERLI OZ'S FAUST 



but ironical praise from Mephislopheles, and he volunteers his famous '* Romance 
of the Flea,'* a curiosity of music as elective as it is difficult 
to render. 

Chanson de la puce (Song of the Flea) 

By Pol Plan9on, Bass 

(In French) 81087 10-inch, $2.00 

Gounod's Mephisiophelea 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 nis hat in. 
And medals deck'd his breast! 

Fauat dislikes the scene, and the two vanish from the 
gaze of the astonished students amid a fiery glow. 

Voici des roses ( *Mid Banks of Roses) 

By Mattio Battistini, Baritone 

(In Italian) 92023 12-mch, $3.00 

We next discover Faust asleep in a lonely forest on the banks of the Elbe, where the 
demon murmurs a softly penetrating melody into his ear, lulling him to slumber with these 

seductive words — 

*Mid banks of roses, softly the light reposes. 
On this fair, fragrant bed, rest, O Faust, rest thy head- 
Here slumber, while lovely visions haunt thy dream 
Of radiant forms, rare lips and eyes that fondly beam! 

while the gnomes and sylphs dance through his dreams, and the vision of Marguerite is seen 
for the first time. 

The next scene corresponds to the Garden Scene of Gounod, and shows a room 
in Marguerite 's cottage. 
The demon now sum- 
will - 




COPT r UilPONT 



PLANCOW 



mons 



th< 



th< 




wisps in this evocation : ** ** i»»tnm<mm»m »«. nm* m *f. •m^ 

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 I 

Then follows the beautiful dance of the will-o*-the-wisps, after which Mephislophelea sings — 

"To thi«; lute, I'll sing a serenade 
One that shall please the lady .... 
It is moral, her tastes to suit!" 



Serenade — Mephistopheles 

By Pol Plan9on, Bass (In French) 81034 10-inch, $2.00 

Mephistopheles then warbles in his scoffing voice this mocking serenade : 

" (! i ' r L" 1 ri^^ ^r r- Sir ^ 




» ■ ■ 



in the accompaniment of which Berlioz has reproduced the peculiar effect of the guitar by 
pizzicato crescendot for strings. 



70 



VICTOR BOOK OF THE OPER A — BER L lO Z'S FAUST 




"rawest ''lh'ou"mKh ? 
Why ibere timidly hover? wl 

Oh' sw^Kl' maiden, brwar 
come away do not enler; 

II were folCy to venture. 
Refrain, nor enter thcr 

Ah. heed thee wc[l. fair lai 
Lesl Ihy lover betray Ih* 

Then good nighl. alas! 
From ill-hap what chall iV 

Bul'iMlhy lover prove tl 



BelMoi'* MephhhpMcs U 
a much moie saidonic anil 
ten gentlenianly devil than (he 
one we are accuatomed to «ee in Gounod'* opera. PUn^on intetpteta this difficult chaiacler 
Bdmirably, and delivera this ineering ■eienade with great eSectiveneas. 

While the apritea dance Morgutrile apparently ileepa. but noon cornea From the house in 
a kind of trance. She triea to enter the church, but the influence of Mefihliloohela prevent*, 
and ahe return* to the house and (alia into the arma of Faiat. 

The laat act conlaint four acenea. Scene 1 shows a moonlit room where the unhappy 
Marguerite sings her lament. This changea to a loclcy paa* whete Mtphlito^iela ir^foim* 
Fault that Afarguerffe isabout to be executed foithemurderol her mother. Faut/ demands that 
she be saved, but i* first required by M^kilopheia to aign the fatal contract which pledge* 
his soul to the Devil. Summoning the infernal steeds Vertex and Giaour, the wild Rids to 
Hell commences, shown by a striking moving panoramB, while at the close the angels are 
•een hovering above the town to rescue the soul of the pardoned Marguerite. 

DOUBLE-FACED DAMNATION OF FAUST RECORDS 




(Entflish) 

DAUGHTER OF THE REGIMENT 

(French) 

LA FILLE DU REGIMENT 

{Lah Feesth deh Rezh' -ee-mong' ) 

COMIC OPERA IN TWO ACTS 

Words by Bayard and St. Georges. Music by Donizetti. First produced at the Opira 
Comique, Paris. 1640; Berlin, 1642; London, 1647. 

Characters 

TONIO, a peasant of T)rTol Tenor 

SULPIZIO. Sergeant of the 2Ist Bass 

Marie, Vivandi^re 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 Toruo, a young peasant, who had saved her life in the Alps and 
who follows the regiment to be near her. The young girl returns his affec- 
tion, and they decide to appeal to Sulpizio. 

In asking for Marie's hand in marriage Tonio's suit is brought before the 
regiment, which decides that he may have the Vieandiire providing he joins 
the army, which he promptly does. Sulpizio meets the Marchioness of Berken- 
field and gives her a letter which he had found addressed to her at the time 
the baby Marie was found on the battlefield. The Marchioness, who had 
married a French army captain far beneath her own rank, immediately rec 
ognizes the young girl as her daughter. The marriage had been a secret 
one and the child was confided to her father's care at her birth. Not 
wishing to acknowledge this marriage even now, the Marchioness declares c Jrc^ 
Marie to be her niece, and dismisses Tonio as a totally unfit person to wed 
a high- bom maiden. Marie assumes her proper position in society, her ^_^fiW ^ 
** aunt ** selecting a wealthy Count as a future husband for her. However, ^Ej^ V *l 
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 oioer 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-i roity 
spirited Ooerture 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) 7422 1 1 2-inch. $ 1 .50 

DOUBLE-FACED DAUGHTER OF THE REGIMENT RECORDS 

/Overture By Pryor's Band\,-^.- it i^nU si ^n 

\ Dance of the Serpents (Boccalari) By Pryor's Band r^^^^ 12-inch, $1.25 

{Principal Airs of the Opera By Vessella*8 Bandi^i. , ^i %^ - l « ^< 

Fra Diavolo Selection (Auher) By Vessella's Bandf^^^^^ 12.inch, 1.25 

72 



DINORAH 

lD/n-oA--mA> 

OPERA IN THREE ACTS 
Libretto by Barbier and Carri. Music by Ciacomo Meyerbeer. Firal production Paria, 
1859. Firai London production, under direction of Meyerbeer. July 26. 1859. Rrrt New 
York production, Opera Comlque. 1864. with Cordier, Brignoli and Amodio. 

Caal 

HOEL. a goatherd Bau 

ODRENTINO. bag.piper Tenor 

DiNORAH. betrothed to HoCl Soprano 

Huntsman Bass 

F^aet ! Breton aillage of Plotrmd. 

Although the name at Meyerbeer U unially n- 

sociated with Robcrl U Diahh, Proph6lt and Huguenots, 

his opera, Pardon de Ploirmel (afterwards revised and 

renamed Dimrah). was at one lime a favorite work with 

opera-loveta. 

K'* "^^^^^^H The revival of Meyerbeer's sparkling opera during 

k I ^^^^^^1 (he last Manhattan season was most welcome, not only 
1 I J^^^^^M for its tunefulness, but because it was an ideal medium 
I ^^J^^^^l for the exhibition of Mme, Tetrazzini's marvelous gifts. 
.._'^^^^^M Old opcra-goera in Amecica will remember the 

productions of the past — that arranged for Marie Van 
Zandl in 1892i 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 rfile. 

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 
Ttvui AS Ho«u >8^o delightful melodies and pays little attention to the plot. 

The action is laid in Brittany. Dinorah. a maiden of the 
village of PloCrmel. is about to be wedded to Hail, a goal-herd, when a sloim destroys 
the house of the bride's father. HofI resolves to rebuild it. and goes off to seek treasure 
in a haunted region, while Dtrmrah, thinking herself deserted, loses her reason, and wanders 
through the country with her faithful goat, seeking the absent //off. 

Overture 

By La ScaU Orchestra 68010 I2<inch. *l.25 

ACT I 
As the curtain rises. Dinorak enters in her bridal dress, seeking her goat, and finding 
the animal asle^. sings this lullaby to him. So lovely an air is worthy of a better object. 

Si, carina caprettina (Yes, My Beloved One) 

By Giuseppini Hutfuet. Soprano {In llatian) *3S180 12-tnch, •1.29 

Mme. Huguet has sung this pretty air with charming fluency, and the record is one of 
The translation follows: 




T.Sa '■ 



^^,\y s 



n the 



'DaatlcJ'acal Rtcati— On o 



\tt Hit n Ihc Mod 5oin /rom Hamkl. hy Mim. HatmL 



VICTOR BOOK OF THE OPERA— ME YERBEBR'S DINORAH 



] is terrified at the light of Dinorc 
1 he hod heard, who caunes the runaway ti 
ief, makes hira dance until he i 



<,, belie' 



Cerentino, a bag-piper, 
an evil fairy about whom 
die*. IMnoiah, in a 
away laughins- 

Hetl enter*, still seeking the (teasure. and confides in Corenfirw, telling him that the 
wizard with wham he had lived for ■ year had instructed him to seek for a while goat 
which would guide him to the gtJd. The hell o( Dinorah's goat i* heard, and HoHl pui*ue* 
it, dragging with him the terrified Cotatlino. 

ACT II 

The second act begins with the (amou* shadow dance, for which Meyerbeer has 
furnished some most beautiful music Dinorah enters, and seeing her ahadow in the 
moonlif^l. imagines it is ■ friend and sings and dances to it. 

Ombra le^^iera (Shado'w Son^) 

ByLui9aTetriEzini.Soprino 8829B 12-inch. #3.00 
By MsrU Gslvany. Soprsoo 68222 12-iiieh, 3.00 




lark (ea 






(W (hud fetttt Bttr lilt moon—llit iliaioui ditappeart.) 
This dance is accompanied by a waltz, which is 

of the most brilliant vocal effect*, including a florid cadi 

for voice and flute, as in Lucia. 

The act closes with the rescue of Dinorah by Hotl u 

the bridge, on which she was crossing a ravine, gives awa; 

ACT III 



Chant du Chasseur (Hunter's Song) 

By Pol PUnton, Bass {Pieno ace. ) 

[la Fnneh) 81065 lO-inch. *2.00 



Thinking her dead, he 



When Croi 

sDughl: 

Within Ih. 

Drad:— al 









Dinorah now opeiu her eyes and recognizes HoUl, her reason having been restored 
by the shock. The reunited lovers go to the village, are greeted by (heir friends, and the 
curtain falls on preparations for the wedding. 




DON CARLOS 

(Don Kahr'-lot) 

OPERA IN FOUR ACTS 



Original P«ri« Cut 
PHIUP U Obin, Bau 

Don Carlos Moreie. Tenor 

Marquis DE POSA Faure. Barilont 

GRAND INQUISITOR Belval. Sou 

Elizabeth de Valois Sau. Sapmna 

Princess EPOU Cueymard. Sopnne 



The libretto is based on Schiller'e drama of [>on Carioa, and telU of the erratic and morbid 
son of Philip 11 of Spain, who was engaged to Elizabeth of Fiance, but subsequently became 
her atepson. The conduct of Don Carloi finally became so acandaloua that hia father 
placed him under arrest and confined him in the Madrid priaon. where he died in 1566, 
at the age of twenty-three. 

The same plot had previously been used by Bona, Milan, 1647: Costa, London, 1644; 
Moscuzza. Naples, 1662 1 and also by Ferrari. 

Don Carioa is not one of Verdi'i popular operas, but the music ii 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 




of Spain, is in love with ElUabelh of Valoli, aaugliter of the 
te reaaans, howevec. Htnry has arranged that his daughter 
■hall marry King Philip, and accordingly the royal ceremony 
takes place. The pauion which Caiin feel* for hia young 
Btepmother ii ai intense as ever, and he coniides in Rodrigo, 
Manpili of Ptaa, who entreats the Prince to leave the 
Spanish Court in the hope that he will forget hia love. 
Caiioi begs the Queen to obtain Phllip'i peimission for him 
to join the Flemings in their struggle against the cnieltiea 
of the Spaniards. Time seems to have but strengthened 
the mutual affection of the pair, and the Queen is unable to 
conceal from Car/« the fact that her love for him is greater 
than ever. 

PrliKOi Eioli. who U herself in love with Catl<a. learns 

of the Qunn'i affection for the Prince. Her ieaiousy is 

aroused and she tells all to PhUp. This maddens the King, 

who is already angry with his son for his sympathy with 

the Flemings, and. on the advice of the Grand Inqaltltot, 

Rodrigo visits the Prince there, and is shot by friends of the 

helping the Flemings. Carloi is freed and goes to St. Just 

Lth Elizabeth. The King surprises them there, and his anger 



f the Inquisition, who bear 



Catloi is th 

King, who suspect him of 

Monastery to keep a tryst 

being once more aroused, he hands over Carlot to the Offii 

him away to his death as the curtain falls. 

O don fatale (Oh, Fatal Gift!) 

By Janet Spencer. Soprano {In Italian) 74253 12-iAch. *l.50 

Dio che nell* alma (God in My Soul) 

By Enrico Caruso and Antonio Scotti {In Italian) 89064 12-taeh. 4-00 

Per me tfiunto e il di supremo (The Supreme Day) 

By Titu Ruffo. Baritone (/n Italian) 92038 12-ioch. 3.O0 

DOUBLE-FACED DON CARLOS RECORD 
IGrandMarch By Sousa*s Band) , -,,, ,- . . ,. -, 

\ Tannhauitr-Pifgriim- Chotu, {Wagntr) f ic/w Brow Quorfdj' ' " " 10-mch. lO.rS 




(Inliu) (haeh) 

DON GIOVANNI DON JUAN 

(Don /•ilUwAn'.nK) (Don HuAn) 

OPERA IN TWO ACTS 

Libretto by Lorenzo da Ponte. Muiic by Wolfgang Amadeui Mozart. Firit produced 
at Prague. October 29, I7B7. and at Vienna, May 7, 1766. First London production April 
12, I6l7i produced in New York May 29, 1826. Some notable revivali occurred in 1896 
with Sembrich, Nordica, Eamei and Plan^on. and in 1909 with Run, Donatda. Bonci and 
Renaud. _ 

Caat 

Don GIOVANNI, a licentious young nobleman Baritone 

Don OCTAVIO, (0<;I-AiA'.u.<>A) betrothed to Donna Anna Tenor 

LEPORELLO, {Ln-ok.rfl-.hwj servant of Don Giovanni . Basa 

Don PEORO, (P<w.<fr<>| the Commandant Bass 

Donna anna, hia daughter . . . Soprano 

MASETTO, iMam^-h,) a peasant . . ..... Bass 

ZERUNA, {ZcrJit'jiahj betrothed to Masetto Soprano 

Don Elvira, a lady of Burgos Soprano 

Peasants, Musicians, Dancers, Demons. 

Settle and Paiod : Seetile, in the middle of the aetenletnlh ctnlury. 



Mmart'a Don Giovanni was wi 
Prague. Da Ponte. the librettist, was 
Nozze di Figaro. The plot of the □ 
Barlador de Stollla Ji Comirada de pi 
and prior of a monastery at Madrid. 



I 1787 and produced during the same year at 
nese Court dramatist, who had also written Le 
a. probably founded upon a play entitled £/ 
tributed to Tirio de Molina, a Spanish monk 
also served a ' ' ' 



s by Fabrizzi, Gardi, Raimondi, Cami 



inl'$ Palace 



ACT 1 

SCENE {—The Coirtyard of the 

Stvltlt. IH$ Night 
The wicked Don GlooannI, ever pursuing hi* gay 
tempts to enter Donna .4nna 'i apartment*. 
a for help and he tries to escape, but i* pursued 
by the angry girl, who endeavors to penetrate hi* di«. 
gui*e- Her father comes to the rescue and is mortally 
wounded by the Don. who makes his escape, followed 
by Leponllo, hi* servant. Donna Anna is overcome with 
grief, and charges her betrothed, Don Oclaolo, to avenge 
her father's death. 

SCENE II— ^n Inn in a Daerted Sfiol Oultldt Seetllt 
Don Giovanni and Leporello enter and conceal them- 
selvea 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 Eiolra, a young 
woman whom he ha* lately deceived and deaerled. 
She denounce* him for his bB*ene*s and he makes his 
escape, leaving Leporelto to explain as best he can. 
Leporello rather enjoys the situation, produce* his diary 
and adds to the lady's anger by reading a list of the 
mistresae* of the Don. Thi* list is recited by Leporello 
in the famous // catalogo. 

77 




VICTOR BOOK OF THE OPERA — MOZART'S DON GIOVANNI 



Madamina. il cataloffo (Gentle Lady, this List) 

By Marcel Jouraet, Bais </n Italian) 64150 lO-inch. *I.OO 

By ArcinKelo Rossi. (DaiUr-faaJ—S~ mgt 81) {ItaUan) 61623 lO-Joch. .79 

Nella bionda (The Fair One) 

By M>rc«l Jouraet. Bui {In Ualian) 74191 I2-iach. ll.SO 



In Uid,,.-^\i h 



Womenfolk of all condilion^, 
Ev'ry fgrni and tv-ry slaw! 
Joumet'a Lefiordlo w a unique performanca 
of it* kind, and his characterization aJwaya atanda 
forth aa an admirable foil to the polished villainiea 
of the suave and diatinguished Don. Thii great 
huffo number, usually called the Calatogat Seng, 
is full of the broadest humor, and is given by this 
artist with all the sly humor, gaiety, irony and 

Donna Elvira is horrified and drives off. 
swearing vengeance. 

SCENE 111— /n Iht Suhu^i of Stolltt. Don 
'■^'^i^^'-'-f Clovanni't Palace Wtstble on the Right 
A rustic wedding party comprising Zerllna. Maaetto and a company of peasants are enjoy- 
ing an outing. Don Giovanni and LcporeUo appear, and the Don a charmed at the sight of ao 
much youthful beauty. He bids Leparcllo conduct the party to his palace and give them re- 
freshments, contriving, however, to detain Zerllna. 

Masello 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 
Maiello. She is impressed and coquelles with him in 
the melodious duet. La d Jarem, the witty phrases and 
delicate harmonies of which make il one of the gems 
of Mozart's opera. 

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

By Geraliiine Famr, Soprano, and 
Antonio Scotti. Baritone 

Un Italian) 89015 12-incb. *4.00 
By Emma Eamet, Soprano, and Emilio 
d« Gogorza. Baritone 

Un halian) 89009 12-inch. 4.00 
By Graziella PareCO. Soprano, and Titta 
Ruffo. Baritone 

Un halian) 92505 12-inch. 4.00 
By Mattia Battistini, Baritone, and 
Emilia Corsi. Soprano 

(In Italian^ 92024- 12-inch, 3.00 





VICTOR BOOK OF THE OPERA — MOZART'S DON GIOVANNI 




ThU celebrated number, which has been lung by many 
famous nrtiitB during the one hundred and twenty years since 
its first hearins, is one of the best examples of the many spark- 
ling concerted numbers which Mozart has written. Always 
interesting, it ii wholly delightful when sung by such artiMi as 
those who have rendered it for the Victor. Not less than four 
versions, by famoui exponents of the characters of Zallna and 
Don CioDannI, are presented here. 



Nay. bid me' 



Shouldst Ihou pr< 

DoH C?iovAi(Ni'" 
Come then, oh ci 

Zebliha: 

Yet should thy f< 

Nay, love, in vaii 
Both: 

Yes. hand aiirl 



co1d[y ll 



lye false, I eouEd n 



unds shall 



87s) 



Miss Farrar's Zerlina is a dainty and fascinating chsrocter, 
and she sings the music brilliantly. It is hardly necessary to 
say anything about Scolti** Don Giovanni, as it is quite familiar to 
opera-goers, ranking among hia best impersonalioni. The 
1 by Mme. Eames and Mr. de Gogorza is a most delight- 



ful one, while two other records by famous European ar 
GlooannI is about to lead Zerlina away, when Donf 
rescues the young girl and carries her off. to the chagrin 
of the Don, Donna Anna now enters with Oclaole, 
who asks the help of his friend Don GlooannI in tracing 
the murderer of Donna Anna 's father. The Don assures 
them o( his devotion, and goes to his palace, while 
Donna Anna tetls her lover that she recognizes by his 
voice that £>an Qlooanni is the one who slew her father. 
They depart, and Ltpercllo and the Don enter. The serv- 
ant tells his master that when Donne Elolra and Zerlina 
arrived at the palace, and Elcira 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 hia 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 Gloeonni's garden. Zerlina 
is endeavoring to make her peace with Maaello, but he 
is sulky. She then sings her lovely Balll. balll. 

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

By Mircella Sembrich. Soprano 

{In Italian) 88026 12-inch. *3.CK> 
This gentle number is in striking contrast to the 
brilliant writing in the lighter biu of ZetHna'i music. 






Chidi 



hide Zcr 



r Mo'i 




VICTOR BOOK OF THE OPERA — MOZART S DON GIOVANNI 

Maiello i» only half appeased, but goes in to dance witK 
til bride. Donna /fnna. Donna Eleira and Don Oclaeio. disguised 
and masked, enter and sing a trio, in which they pledge them- 
■elvea to have revenge an the trailor. 

The scene changes to the interior of the palace, where 
the ball is in progress. Don GlooannI continues his efforts to 
gel Ztrilna away from her jealous and watchful lover, and 
finally succeeds, but Ztrlina calls (or help and MaxUo and the 



three 



SCENE I 



> rush to her a 



They denou 
. sword, and makes h 



eDon 



I Res Jena on the 



Don GimannI, followed by his servant, enters, wrapped in a 
mantle and carrying a mandolin. He has heaid of a pretty 
servant whom Donna Elvira possesses, and is plotting to gel 
(he 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 Ltfiorello torward to impersoiuile him. While 
they are conversing, the Don makes a great outcry and the pair 
run olT in fright. The coast clear, the Don sings his famous 
Settradt to the fair wailing maid. 





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

By Antonio Scotti. Baritone 

(In Italian) 88194 t2-ineh, *3.00 
By Titto RufFo. Baritone 

(/n Italian) 871 12 10-ineh, 2.0D 
By M. Hector Dufranne. Baritone 

{InFrench) •45011 10-inch. l.OO 
By Giuseppe de Lues. Baritone (Piano 

ace.) (In Italian) ''62623 10-iach, .73 
Don Guy 



Ah! wouldst thou <!« me d; 

Thy'lm'oufvirs l^meltian-1 
Virliie worthy an anee 



Tliy >iRh were ha[ni amid s hcav'n of flowers: 
6. for one hiss, this soul would j.eiishl 

Ruffo's impersonation of Don Ctoeannt is admir- 
able in every respect. IHe is the proSigate nobleman 
and irresislibte wooer to the life, and sings the 

famous serenade is given by the baritone with the 
d ease which never fail him. while two lower priced records are also offered, 
amours are rudely interrupted by Masttto, who appears with a company of villagers, 
d with muskets, seeking the villain. The Don, pretending to be Lefiorello, offers to 
I on the right track. Then follows a series of amusing situations, ending with the 
o( the supposed Don by the three conspirators, but it proves to be Leeorrllo, who 
vantage of ihe situation to make his escape. 

« DOUBLE-FACED DON OOVANNS RECORDS, pan 81. 



VICTOR BOOK OF THE OPERA —MOZART'S DON GIOVANNI 

the Cathedral Square, with the (tatue 
of the mutdereti Commandant 
in the centre. The Don and 
LtportUo enter, and are diacuu. 
ing the events of the evening, 
when the statue ipealu to them. 
LepoTcUo n terrified, but the Don 
defiet aU cpirita and boldly in- 




The 



: cha: 



lupper. 

LgCB 



> the 



banquet hall in the palac 
the Don. In the midst of the 
(ealivitie. . loud knoching ia 
heard. The gueal* flee in terror, 
the lights go out. and the gigan' 
tic figure of the Commandant 
appeals at the df>or. Leporello 
cowers in terror under the table. 
but Don Giovanni a defiant until 
the ghost seizes his hand, when 
he Feel* for the first lime a ter. 
rible fear. The atatue ainki, 
flames appear on all sides, and 
demons rise and leiie the guilty 
libertine. 



jMinuet from Act I By Victor Dance Orchestral 

1 Forwa.d M^nh-Tap Step By Victor Dancr Orchalrai 

JSerenade By M. Hector Dufranne. Baritone (/n Fnnch' 

\ SI }-ilai>Rol-Untcgardde>f,S'»'l~LfonBryU. Tenor (Frtnch-, 
(Madamina, il cataloeo— By Arcangelo Rossi. Bass [In llalians I 
^Serenata-Deh! vienialla fincstra (Open Thy 
I Window. Lovej By Giuseppe de Luca. Baritone I 






DIE NEUGIERIGEN FRAUEN 



(Inliu) 

LE DONNE CURIOSE 

iDm-mh K»e-7a-oV -tl.) 
(Eailifh) 

INQUISITIVE WOMEN 

MUSICAL COMEDY IN THREE ACTS 
Libretto by Luigi Susana, after Carlo Goldoni ; muaic by Ermanna Wolf-Ferrari. 
Produced in Munich in 1903 a* Dit Neughrigm Frautn. First production at tKc Metropolitan 
Opera Houte. New York, January 3, 1912. with Farrar, Jadlowter.Scolli. Fomia and Murphy. 

Character* 

OTTAVIO. a rich Venetian Baw 

Beatrice, hii wife Mezzo-Soprano 

ROSAURA, hii daughter , Sopraito 

FLORINDO. betrothed to Rosaura . . Tenor 

PANTALONE. a Venetian merchant Buffo-Baritone 

LEUO, \l • c ' J (Baritone 

LEANDRO. r' f"'"*^' \ Tenor 

COLOMBINA. Roaauia'a maid Soprano 

ELEANORA. wife to Lelio Soprano 

ARLECCHINO. servant to Pattlalone Buffo-Ban 

Servants, gondoliers, men and women of the populace. 

Time and Ptaa: Venice ; ihe middle of the dghtttnfh ctiOaiy. 



VICTOR BOOK OF THE OPERA — INQUISITIVE WOMEN 



L« Donne Curfwe is a genuine comedy. The 

is veiy simple, and deals with the schem- 

o( Beatrice, Rmaura, Eleanora and Colomblna 

iain entrance to tKe Friendship Clubhouse, 

vhich their husbands and lovers are mem- 

I. Over the door of the club may be seen 

motto, " No Women Admitted." Each 

has her o^vn theory as to the doings 

behind closed doors, and they seek in varioua 

ways to gain an entrance. In reality the men 

are enjos^ng themselves with simple masculine 

pleasures, uid chuckling over the intense curiosity 

of their wives and sweethearts. 

With the help of Colomblna and ArUcchIno, 
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 lind the men enjoying 
themselves harmlessly at dinnet. 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, Talla per It mio bene, is sung by 
Rotaura as Bealrlce and Colomblna go off together 
to try to effect an entrance into the Cltib, and the 
second ia the love duet of Roiaom and FlorlnJa, 
sung after she has induced him to give her the keya. 

Tutta per te, mio bene (Only For Thee, My Sweetheart) 

By Gersldine Farrar. Sopnno (/n Italian) 88356 12-iiicIi. tS-OO 

11 cor nel contento (My Heart, How it Leaps in Rejoicing) 

By Geraldine Farrar and Herman Jadlowker (Indian) 88359 I2-iach. I3.00 






DON PASQUALE 



COMIC OPERA IN THREE ACTS 

Text BDil music ay Caetano Donizetti. Libretto adapted Ironi the older Italian op«ra 
Str Marc' Anlonh, by Cametano. Firat presented at the Thfttre dea Italiena, Paris, on 
January 4, 1643. FirM production in Paris in French.1664. First London production June 30, 
IB43. First New York production March 9, 1646, in English, and in 1849 in Italian. 

Recently revived at the Metropolitan with Sembrich, Scotli and Rossi : and at the Bos- 
ton Opera House with Nielsen, Bourrillon, Antonio Pini-Corsi and Fomari. 

Chsraeters 

Don PASQUALE, an old bachelor . . ' ...Bass 

Dr. MALATESTA. his Friend, a physician Baritone 

Ernesto, nephew o{ Don Pasquale Tenor 

NORINA. beloved of Ernesto Soprano 

A Notary Baritone 

Chorus of Valets and Chambermaids. Majordomo, Dressmaker and Hairdresser. 



Sctne and Pertod : 



• the ttglnning of Iht nintleenlh ccn'urji- 



This brightest of genuine lyric comedies always appeals to that class of opera- goers who 
End the present-day comic opera or musical comedy to be cheap, gaudy and lacking in 
genuine humor. Don PaiquaU is pure entertainment, nothing else, the true spirit of comedy 
being found in the music as well as the plot; and both are delightful when the opera is 
presented by such artists as the Victor has assembled for this series. 



VICTOR BOOK OF THE OPERA— DONIZETTI'S DON PASQUALE 

ACT I 

SCENE — A Room in Don Pasquale*s House 

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

Son nov*ore (*Tis Nine 0*Clock !) 

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

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

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

Un foco insolito (A Fire All Unfelt Before) 

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

{In Italian) *62104 10-inch. $0.75 

Pasquale: 

A fire, all unfelt before. Ah I hasten speedily. 

Burns in my heart's core: Sweet little bride, to mel^ 

1 can resist no more — Yes, I am born again! Now for my nephew, — 

IMl 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 : 

Soffno soave e casto (Fond Dream of Love) 

By Giuseppe Acerbi, Tenor {In Italian) *62624 10-inch, $0.75 

Ernesto: 

Sweet holy dreams I loved to cherish But now, poor and abandon'd, I, 

Of early youth, adieu! ye vanish! Reduc'd from my condition high. 

If I e'er long'd for riches, splendor. Sooner than thee in misery see. 

It was but for thee, love: Dearest, I'll renounce thee. 

Before leaving his uncle, Ernesto begs him to consult Dr. Malatesta for advice, but Don 
Pasquale savs 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 ifuardo (Glances so Soft) 

By Giuseppina Huguet, Soprano 



Norina: 

"Glances so soft revealing 
The flame of truest love, 



{In Italian) *68272 12.inch, $1.25 

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

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

By Amelia Pollini. Soprano {In Italian) *62103 10-inch. $0.75 

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



Norina: 

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



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



*DwAlU^aotd Reeonl—For title o/opfio$fk jfV/e me DOUBLE-FACED DON PASQUALE RECORDS, page 90. 



86 



VICTOR BOOK OF THE QPERA—DQNIZETTrS DON PA3QUALE 

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

Pronta io son (My Part FU Play) 

By *Marcella Sembrich, Soprano, and Antonio Scotti, Baritone 

(/n Italian) 89002 12-inch, $4.00 
By Giuseppina Huguet, Soprano, and Ernesto Badini, Baritone 

(In Italian) *68272 12-inch, 1.25 

Nokina: Doctor: 

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

Against my lovers 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 I) 

By Giuseppina Hutfuet and Ernesto Badini (Italian) *62097 10-inch, $0.75 

ACT II 
SCENE— >l 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 w^ife, 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 I 

This tableau is followed by the quartet, E rimasto. 

*Doal>leJ^aeal RgeorJ—For tale efoppoMtte tide see DOUBLEJ^ACED DON PASQUALE RECORDS, page 90. 

87 



No drop of blood runs in his veins. 

Malatesta : 
Take heart. Pasquale, my old buck, 
Don't be discouraged, use your brains. 

Nosina: 

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



VICTOR BOOK OF THE OPERA— DONIZETTPS DON PA5QUALE 

E rimasto la impietrato (He Stands Immovable) 

By Linda Brambilla, Soprano ; Antonio Pini-Corsi, Baritone ; 
Gaetano Pini-Corsi, Tenor; Atfusto Scipioni, Bass 

Pasquale: {In Italian) *16566 10-inch, $0.75 

Dream I? Sleep I? What's amiss? To know not if he wakes or dreams! 

Kicks— cuffs: good — a fine pretext — ^ He's like a man by lightning struck: 

*Tis well she warned me now of this — ^what's 

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

He stands petrified, and seems — 

The great finale to Act 11 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 Giuscppina Huguet, Soprano; Antonio Pini-Corsi, Baritone; 
Gaetano Pini-Corsi, Tenor; Agusto Scipioni, Bass 

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

All (pointing to Don Pasquale) : 
Don Pasquale, poor, dear wight. 
Is nearly suffocated quite! 

Malatesta (to Pasquale) i 

You're a little heated, really — 

Do go to bcd^ dear Don Pasquale. 

(7'o Norina, xn a tone of reproof.) 

On my brother-in-law to play 

Thus, I'll not endure, I say! 

{To the lovers, who are embracing behind Don 

Pasquale* s back.) 
Silly ones, for Heaven's sake, pray, 
Don't, 1 beg, yourselves betray! 



Pasquale: 

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

Norina {to Ernesto) : 

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

Ernesto {to Norina) : 

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



ACT III 

{Same as Ad I — On the floor anJ furniture are piled up dresses, bandboxes, furs, etc., in great pro- 
fusion. Servants are running to and fro with bustle and excitement) 

Don Pasquale is seen amid the confusion, looking with utmost consternation at a huge 
pile of hills. He throws them down in despair, and as Norina approaches resolves to make 
one last attempt to remain master in his own house. 

Siffnorina in tanta fretta (My Lady, \(^hy This Haste ?) 

By Emilia Corsi, Soprano, and Antonio Pini-Corsi, Baritone 

{In Italian) *68273 12-inch. $1.25 
She is dressed to go out, and is hastening to her carriage when Don Pasquale begins : 



(ll'ith great heat.) 

VVhy, you impertinent! 

Hut there — take what you well deserve, sir! 

{Boxes his ears.) 
Pasquale : 

Ah! 

(It is all over with you, Don Pasquale! 

All that now remains for you to do 

Is quietly to go and drown yourself!) 
Norina: 

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

Yet was required to have its due effect.) 

(To Don Pasquale): 

I'm going now, then — 
Pasquale: 

Oh, yes, certainly! 

But do not take the trouble to return. 
Norina: 

Oh, we shall see each other in the morning. 
Pasquale: 

A face of wood — ^a closed door, you will find. 

^DoabkJ^aeeJ Record— For title cfoppoeik side me DOUBLEJ^ACED DON PASQUALE RECORDS, page 9a 



Pasquale : 

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

Nosina: 

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

Pasquale: 

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

Norina: 

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

Pasquale (with rising warmth) : 

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

NoKiNA (ironically) : 
Oh. really! 



88 



VICTOR BOOK OF THE OPERA— DONIZETTI'S DON PASQUALE 

As she goes out she intentionally drops a note which Don Pasquale seizes and peruses. 
He is petrified to find that it reads: 



"Adored Sophrania — 

Between the hours of nine and ten this 

evening, 
I shall be at the bottom 'of the garden — 



B^ the small grated gate. 

*Tis in a song 1 shall announce my coming: 

Thine to command — thine faithfully; — adieu." 



This is too much, and the unhappy man runs in search of Malaiesta. Ernesto and the 
Doctor enter, discussing the plot, and the young man, after being instructed to be at the 
garden rendezvous at nine that evening, goes out. 

Pa$quale returns, and going solemnly up to the Doctor, exclaims : 

Pasquale: 

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

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

Aspetta aspetta cara esposina (\(^ait, W^ziu Dear Little \(^ife) 

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

{Douhk-Faced—See page 90) {In Italian) 62103 10-inch, $0.75 



Pasquale: 

Wait, wait, dear little wife, 
I soon reveng'd will be: 
E'en now 'tis near, my life. 
This night, without delay, 
Thou must the reckoning pay! 
Thou'lt see what little use 
Now will be each excuse — 
Useless thy tender smiles. 
Sighs, and tears — and wiles — 
All I have now at stake, 
Conquer'd, again I'll take! 



Malatesta (aside) : 
Oh, the poor fellow! 
Vengeance he's prating; 
Let the dolt bellow — 
He knows not what's waiting! 
He knows not he is building rare 
Castles in the empty air: 
He sees not, the simpleton — 
That in the trap, poor elf, 
He of his own accord 
Now goes to throw himself! 
{Exit together.) 



SCENE 11— Don Pasquale s Garden— It is Night— Ernesto is DiscooereJ Waiting 

This scene begins with the beautiful serenade, the most melodious of the airs in 
Donizetti's work. 



Serenata— Com' e ifentil (Soft Beams the Light) 

By Enrico Caruso, Tenor {In Italian) 85048 12-inch, $3.00 

By Aristodcnio Giorgini, Tenor, and La Scala Chorus 

{In Italian) 76010 12-inch, 2.00 



Eknesto: 

Oh! summer night, thy tranquil light 

Was made for those who shun the busy day. 

Who love too well, yet blush to tell 

The hopes that led their hearts astray! 

All now is still, on dale, on hill, 



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



Two renditions of this exquisite air are listed here, headed by Caruso's, familiar to 
admirers of the great tenor. A fine record by Giorgini, a tenor now much liked in Italy, 
follows. 

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

80 



VICTOR BOOK OF THE OPERA— DON IZETTrS DON PASQUALE 



EWUBLE-FACED DON PASQUALE RECORDS 

iSienorini ia UdU fretu (My Lady. Why Tbi* Hmu T) 1 

By Bmili* Coral and Antonio PinUCorii (/n Italian) lca->*t < •> .-.^k >■ t*. 
Sonnov-ire (Ti. Nine O'clock !l '68273 U-mch. .1.25 

By Antonio Pini-Corii ind Ernesto Bidini (In Italian)} 
ID'aa tfiurdo. un aorrisetto (Glancci So Soft) 



By Giuacppina Hufuet. Soprano {In Italian) [--.-- ,, - „. , _, 
(My Part ni Play) *"" 12.inch. 1.25 

-- - - - {In Italian)] 



a Hutfuct and Ernesto BadJni 



iPronta io so 
I By Gi 

/Overture 

\ Baiblere dl SliHglla—Manca an faglla ' By La Scala Orchatra^ 

Un foco in*olito (A Fire All Unfelt Before) 

By Antonio Pini-Corsi and Ernesto B»dini (In Italian) ^2104 10-inch 
Vado. corro (Haste W^e I) By Emilu Corsi. Soprano, and ' 

Ernesto Bidini, Baritone {In Italian) 

E rimasto U itnpietrato (He Stands Immovable) 
By Linda Brambills. Soprano: Antonio Pini-Corai, 

Baritone: Pin i-Corsi, Tenor : Seipioni, Baas {Inllallan) 16566 10-tnch. 

Ellilr d'amore—h nnno Hccc (I Haot Rkhet) Bs Pauarl. 

Soprano; A. Pinl-ConI, Baiilone ; and Chorus (In Italian) _ 

Cavatim — 9o ancb'io-lo virtU matfics (I. Too, Tby Ma^c 
Virtue. Know) 

By Amelia Pollini. Soprano (Inllallan) .,,„■» in.ini-h 
Aspetta aspetta cara esposina (Wait. Wait, Dear Little *■""■* ' 

Wife) By Antonio Pini-Corsi, Baritone, and Giovanni 
Polese, Baritone (In llalla 

Sagao soave e casto (Pond Dream of Love) 

By Giuseppe Acetbi. Tenor (In IlaUan) 62624 10-incb. 
Fault — Coro de taldadot (Sold/era ' Chana) ^(l Scala Charui 

Vadoeorro (Haste We) By Giuseppina Hutfuet. Soprano. 

and Ernesto Badini. Baritone (In Italian) 

Son tradito By Giuscppina Hufuet. Soprano: Antonio 62091 10>inch. 
«■_. ^___7 B -< noPini-Corsi, Tenor: Ernesto 



i- Corsi. Bariti 
Badini, Baritone 



(In Italian) 




(Icalian) 

UEUSIR D'AMORE 

(Ay-lee-zee/ dam-oh'-reh) 
(Entfluh) 

THE EUXIR OF LOVE 

OPERA IN TWO ACTS 

Text by Romani. Music by Gaetano Donizetti. First produced in Milan in 1832. First 
London production December 10, 1836. First New York production in 1838. First Paris 
production in 1839. _ 

Cast 

ADINA, a wealthy and independent young woman Soprano 

NEMORINO, a young peascuit, in love with Adina Tenor 

BELCORE, sergeant of the village garrison Bass 

DOCTOR Dulcamara, a quack doctor Buffo 

GlANNETTA, a peasant girl Soprano 

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

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

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

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

ACT I 

SCENE — The Hwnestead of Adina* s Farm 

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

Quant'e bella ! (Ah ! How Lovely) 

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

Nemorino: 

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

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

^4artial music is heard and Belcore» a dashing sergeant stationed near the village, 
appears with a bouquet for Adina. She has but few smiles for the military man, which 
cheers Nemorino somewhat, and when Belcore departs he renews his suit, but the fair one 
tells him that it is useless. 

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

Udite, udite o rustici (Give Ear, -Ye Rustics) 

3y Antonio Pini-Corsi, Baritone (In Italian) *68152 12.inch, $1.25 

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

* DwMt-Faetd Record— For tide of opposite tide aee list on page 93. 

01 



VICTOR BOOK OF THE OPERA — ELIXIR OF LOVE 

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

Dulcamara: 

I cure the apoplectical. 

The asthmatical, the^ paralytical. 

The dropsical, the diuretical. 

Consumption, deafness, too. 

The rickets and the scrofula — 

All evils are at once upset 

By this new and fashionable mode! 

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

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

Obbligato, obbligfato (Thank You Kindly) 

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

{In Italian) 91079 10-inch, $2.00 
As soon as the Doctor has departed Nemorino drinks the elixir, and at once feels a new 
courage in his veins. He begins to sing and dance, and Adina, coming in, is astonished to 
see her love-sick swain so merry. Feeling sure that the potion will bring the lady to his feet, 
he pays no attention to her, which piques her so much that when the sergeant arrives and 
renews his suit, she consents to wed him in three days. Nemorino laughs loudly at this, 
which further enrages the lady, and she sets the wedding for that very day. This sobers 
Nemorino, who fears that the marriage may take place before the potion works, and he 
pleads for delay. Adina and Belcore laugh at him, and the curtain falls as preparations for 
the wedding are begun. 

ACT II 
SCENE 1 — Interior of the Farmhouse 

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

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

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

{In Italian) *16566 10-inch, $0.75 

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

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

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

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

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

Una furtiva lagrima (Down Her Cheek a Pearly Tear) 

By Enrico Caruso, Tenor {In Italian) 88339 12-inch, $3.00 

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

By John McCorniack, Tenor (In Italian) 74219 12-inch, 1.50 

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

By Emilio Perea, Tenor (In Italian) *68152 12-inch, 1.25 

* DotAk-Factd Rteordt — For tiOt cf opposite tide me page 93. 

02 



BOOK OF THE OPERA — ELIXIR OF LOVE 



Neglected as the opera, aa a whole, hu 
been (or many years, this lovely romaiiia, 
the song which Nanorino BingB lo the tear 
that stood in hii Adina'j eye, will alwayi 
keep the opera from being Eorgotlen. Tha 
is one oE the moat (amoua of the Caruso 
recordm, and hia exquiaile singing of this 
beautiful number is something lo be long 
remembered. 




Dowr 






"s,,;; 
































Mr. 


McCormack- 



s dark, 



. . rendition is also a 
Very few English sing- 
ers are able to sing an Italian aria in a man- 
ner (hat would be acceptable to Italian audi- 
ences, but McCormack ia one of these, and 
hia rendering of Donizetti's exquisite air is 
an example of this mastery of the old school 
of vocalization. 

The crafty Dulcamara now suggest! to 
Adino that she trv the wonderful elixir in 
order to win back her lover, but she says 
she needs not such aids. 






Oh! fU-\ far 



M: 



will fly! 



tcndrr 



That I cnuld n 



Hik r'li 



'ield 



When Nemorino has sung his air Adina comes on with the soldier's contract, which she 
has bought back, and (ells him that he must not go away. All misunderatandinga are now 
cleared away, and Belcan arrivea to find his bride-to-be embracing another. IHowever, 
he is philosophical and saying, " There are other women I " marches oS. while the villagers 
tell Adina and Nanorino of the latter'* good fortune. The Doctor claims credit (or (he 
reconciliation, and the curtain (alls as he is relieving the peasants o( their wages in return for 
bottles of his wonderful Elixir o/Looe I 

DOUBLE-FACED L'ELISIR DAMORE RECORDS 

IUdite, odite o rustiei (Give Ear, Rusdeil) 1 

„ , . , . By A. Pini-Corai. Baritone {!'< !toUan)\ ^ 12-inch. »1J5 

Una fortiva ligrima (A Furtive Tear) 
By Emilio Perea, Tenor (In Italian)] 
Qusnt'i belU I I Ah. How Lovely I) | 

By Emilio Perea, Tenor (In Ao/fan) ^62626 10-inch. .79 
Udite, udite o rustiei— By Arcaaf elo Rossi. Bass (/n Italian) I 
lo KDO riceo e tu sei bella (I Have Riches. Thou Hast I 
Beauty) By Maria Passari. Soprano: Pini-Corsi and I 

*-*""""■ *'" ^'""""HlfiSfeft lO-inch IS 

Don Paaqualc — Quartel. Act II By Linda Brambilla, Soprano; | 
Antonio Pini-Corsi. Baritone: Caelano Piai-Corsi, I 
Tenor: and Aufusto Scipioni. Baritone (In Italian)} 




HERNANI 

OPERA IN FOUR ACTS 

Libietto adapted by Maria Piave: (ram Victor Hugo'* drama "Hemanii" muiic by 
Giuteppe Verdi. Firat production in Venice, March 9, 1844. First London produclion at 
Her MaJMty'a Theatre, March 8. 1845. First New York production. 1846, at the A«tor Place. 
At it! Paria production, lanuary 6, 1846, the libretto wa» altered at Victor Hugo's request, 
the characteis being made Italians and the name of the opera changed to // ProicriUa. 

Caat of Charicteri 

DON Carlos. King of Spain Baritone 

DON RUY GOMEZ DE SiLVA. a Grandee of Spain Bass 

ERNANI, a bandit chief Tenor 

Don RKCARDO, an esquire of the King Tenor 

lACO. lEMfr-jo) an esquire of Don Silva Baaa 

ELVERA. (Et-^-,al.-i betrothed to Don Silva Soprano 

QOVANNA. {C=j>li.Bal< -nah) in attendance upon her Mezzo-Sopiano 

Chorus of mountaineers and bandits, followers of Dan Silta. ladies of Beira. followers of 
the King, Spanish and German nobles and ladies, electors and pages. 

Scent and Period ; Aragon; aboal 1519. 



VICTOR BOOK OF THE OPER A— V ERDI'S ERNANl 
ACT I 

SCENE l-The Mountain, of Aragon 

Elvira, a Spanish tady of rank, in about to be mamed lo the elderly Dan Gortet de Sltoa, 

a Grandee of Spain. Ernanl, a bandit chief (in reaUty John of Aragon, become a bcigand 

after hi* estalei were confiicated), lovea Elcira and reaolvei to pieveni thii unwelcome 

mairiage. The fini acene ihowi a mountain pasa where £miini'i men are encamped. 

Beviam. beviam (Comrades. Let's Drink and Play) 

By La Scab Chorus (/n llallan) *3516e 12>iAch. tias 

The opera opetu wilh ihia apiriled chorus of bandita and mountaineera. who are drinking 
and gambling in their atrongholti. Wilh reckleas aatiefaction in their lot they aing: 



EmanI, their chief, appears on a neighboring height with a melancholy brow. Hia men 
remark at hii gloomy appearance, and he tells them thai he is powerless lo prevent the mar- 
riage of hia betrothed to the aged Sllua on the morrow. He describes the peerleu Ehiia in 
a fine aria, The Sweetest Flow'r. 

Come rugiada al ceapite (The Sweetest Flow'r) 

By Luigi Colaiia, Tenor {In Italian) *62627 lO-Jnch. «0.79 

The bandits offer their Uvea, if need be, in the aervice of their chief, and it is decided to 
rescue Eioira that night. 

O tu che Talma adora (O Thou, My Life's Treasure) 

By Martioci Patti. Tenor, and La Scala Chorua (/n Italian) 

*16S6I 10-inch, *0.79 
ria. sing* of the charms of hi* beloved. 



Etnani, in this passionate a' 



Oh Ihou. my life's soli treasure. I 

Comr. come lo iny arms adormB. Tl 

Dtatb al Ih, feci ■Hcr pk'asurr. M 

Thr joy of hcav-n is mine wher<r>r Ihou art. To »i>o. 

Ernanl and hi* men depart in the direction of Slloa 'i castle 
and the scene change*. 

SCENE 11— Qofra'i Aparbntnl in Iht Caillt 
Etrira i* discovered alone, brooding over the prospect of 
the ■Bcrifice. which ahe seems powerleaa to prevent. 
Elviia; 

■Tis near the danninji. and Silva ytl rclurns not' Ah: *ould 
he raw no more— with odious words ul loving, more di'C|>Iy 
confirniiiig my love [or Ernanl: 

Emani involami (Ernani. Fly with Me) 

By Mircella Sembrich S8022 12-inch. «3.00 

By Frieda Hempel, Soprano 88383 12-inch, 3.00 

By Maria Grisi *63173 10-inch. .79 

In this beautiful but despairing number ahe call* on her 

lover to aave ber, singing : 

fly with me; 
liii._haled marriage: 



h thL-e. 



n the 






enchanlmrat : 
Two brilliant rendition* of thb famoua number 

by Mme Sembrich and Mme. Hempel: while a . . 

priced record ia contributed by Mme. Crisi, of La Scala. 

Elvlra't ladies-in-waiting now enter, bringing her wedding 

gifta. and in the graceful chorua with which this record begin*. 

congratulate her. 




■ Daatk-Faad Ratr^—FBrlltk of op 



» DOUBLE-FACED ERNANI RECOHDS. c 



VICTOR BOOK OF THE OPER A— V ERDI*S ERNANI 

Quante d^Iberia giovani (Noble Hispania*s Blood) 

By Ida Giacomelli and La Scala Chorus (In Italian) *16567 10-inch, $0.75 

She thanks them, saying : " Each kindly wish awakes a response in my own heart ;** then 
sings, aside, a second number, " Tutlo sprezzo che d'Ernani, " in which she tells of her hope 
of rescue. The chorus joins in the concluding strain. 

Da quel di che t'ho veduta (From the Day ^when First 
Thy Beauty) 

By Angela de Angelis, Soprano ; Francesco Citfada« Baritone 

{In Italian) *35168 12-inch, $1J15 

We come now to one of the greatest scenes in the opera. Elvira, who has left the room 
with the ladies, returns and is amazed to discover in her boudoir the King, who has been 
secretly in love with her. She appeals to his honor, saying : 

"In pity, sire, leave me!" 

The record begins with the dramatic dialogue between Carlos and Elvira. Carlos then 
declares his love in the aria "Da quel di'* leading up to a dramatic duet, which concludes 
this sixth number. 

Tu se' Emani I (Thou Art Ernani !) 

By Giacomelli, Martinez-Patti and Pitfnataro (Italian) *16568 10-inch, $0.75 

The King, maddened by Elvira *s resistance, is about to carry her away by force. She 
snatches a dagger from Carlos ' belt and cries : '* Go, or with this dagger I will slay us both I** 
The King is about to summon his guard, when suddenly a secret panel door opens and 
Emani appears. Carlos recognizes him and exclaims : '* Thou art Emani, the assassin and 
bandit," and in the spirited trio which follows the rivals declare their hatred, while Elvira, 
almost distracted, endeavors to protect her lover. 

Infelice e tu credevi (Unhappy One !) 

By Marcel Journet, Bass (In Italian) 74008 12-inch, $1.50 

By Perello de Sctfurola, Bass (In Italian) ^55007 12.inch. 1.50 

By Aristodcmo Sillich, Bass (In Italian) *63421 10-inch, .75 

In the midst of this thrilling tableau now appears Silva, who does not recognize the 
King and who is naturally astounded to find two rivals in the apartments of his future 
bride, quarreling for her possession. He summons his squires and soldiers, then addresses 
himself to Elvira and reproaches her in this well-known and impressive Infelice, one of the 
most beautiful of bass arias. Four records of this favorite number are available — by 
Journet (in both 10 and 12.inch), by de Segurola and by Sillich. 

The editor regrets that he is unable to give satisfactory Elnglish translations for the ma- 
jority of the Ernani airs, but most of the available translations of Emani are so distorted as 
to be almost meaningless. The few extracts which are given have been revised and made 
somewhat intelligible. "Opera in English,** about which we hear so much nowadays, 
cannot be permanently successful without new translations for some of the older works. 
For instance, here is a specimen translation of the text of this very air of Infelice. 

Ah, to win, to win back summer's blossom Far congealing unto the core. 

In my breast were tho't too gainless, Winter lords it in this bosom. 

Winter lords it within this my bosom. Far congealing, far congealing to the core. 

Far congealing, far congealing to the core. Unto the core, congealing unto the core! 

Far congealing unto the core, 

Now anyone who can tell just what this means is certainly a highly gifted individual I 
In this connection, however, it should be stated that several American music publishers 
are entitled to praise for their efforts to improve opera translations, especially G. Schirmer, 
with many beautiful new editions of the older operas and collections of opera airs ; and Oliver 
Ditson Company, whose Musicians* Library, a splendid piece of music typography, contains 
many new translations. The editor of this catalogue is indebted to both these firms for 
permission to quote from their new translations. 

* Doulfk.FaceJRtconi—FortHie ofoppostle side aee DOUBLE-FACED ERNANI RECORDS, pagt*99 and 100. 

9G 



VICTOR BOOK OF THE OPER A— V ERDI'S ERNAMI 



Vedi cotne U buon vetfliardo 

("Well I Knew My Trusty Vassal) 

By MarU Griai. ScKirano; Carlo Ottoboni, 
Baas: Remo Sangiorei. Tenor: and 
Giuieppi Sala, Baritone 

(/n IlaUanj *35169 12-inch, *1^5 
Having reproached kin bride foe her auppoaed 
treachery, Slha thinlca of vengeance, and catling for hia 
Bimor and a aword. demanda that the inCrudeia follow 
him to comliBt. Before they can reply, the King'a 
aquirea enter and aalule their Boveieign. Theaalounded 
Siloa, though lecretly enraged, kneels to hi* King, n,y- 
ing: "Duty to my King cancels all offencea." The 
great finale then begiru vrith Corjoi ' aolo, aung aaide to 
hia aquirea: 

"Wtll I knew my Irusly vassal 
KicTct in hale. In passion lender 




Finale, Act I 

By Maria Crisi. Soprano: Carlo Ottoboni, 
Baas; Remo aangiorgi. Tenor; and 



, . _ . makes hia eacape. 

n impreaaive tableau. ACT II 

SCENE— /f Hall In Sllca't CatlU 
After his ocape from the castle, nothing haa been seen_of Emanl. Ehira belie 



• the 



(/n llallan) *I6969 10-inch, *0.I5 



a of hia death and despairingly conaenta to wed Don Sitaa. 

Esultiam (Day of Gladness) 

By La Scala Chorus 
The first acene of Act II occurs in a magnificent hall in the castle. The company of 
knighta and pages of Silea, and tadiea in attendance on Elvira aing the opening chorus in 
praise of the noble Siloa and his peerless bride. 

Oro quant' oro (I am the Bandit Emani) 

By Maria Bernsechi. Soprano ; Luisi ColazEa, Tenor ; and Torre* de Luna. 

Bass (In llallan) *16569 10-inch, fO.75 

Siloa, attired aa a Grandee, enters. Hia aquire, /ago, announces a holy man, who crave* 
the hoapilality of the castle. Emanl, disguised aa a pilgrim, enters, then throws off his disguise 
and exclaims, beginning this fine trio : 

■;i am thr bandil Rrnani ... My men are dead or in chains ... My 
weary of lifel" °" .... sue me an c ner me up, 

Sllaa, however, refuaea to betray one whom he has received aa a guest. The trio, 
which ia one of the great scene* of the opera, then follows. 

• DooWt-Foa JfiMirf-For mkafBpp,Mi,lJc h DOUBLE-FACED ERNANI RECORDS, paga 99 and 100. 



VICTOR BOOK OF THE O P E R A— V E RD I ' S ERNANI 

La vedremo, o veglio audace, (I Will Prove, Audacious 
Greybeard) 

By Mattia Battistini, Baritone, and Aristodemo Sillich, Bass 

(In Italian) 92007 12.inch, $3.00 

By Ernesto Caronna, Baritone, and Torres de Luna, Bass 

(In Italian) *16570 10-inch, .75 

The retainers bring news that the King and his warriors are without the castle. 5//imi 
hides Emani in a secret pcMsage and orders that the King be admitted. Don Carlos inquires, 
with irony, why Siloa *s castle is so well guarded, and demands that he surrender Emani or 
lose his own life. Silva refuses. The soldiers are ordered to search the castle. This duet 
then occurs, beginning : 

Carlos: I will prove, audacious greybeard, 
If thou rt loyal to thy King! 
In my wrath I will destroy thee! 
Silva: Oh King, be just; I cannot yield! 

Vieni tneco (Come, Thou I Nearest Maiden) 

By Emilia Corsi, Soprrno Mattia Battistini, Baritone; and La Scala 

Chorus (In Italian) 92008 12-inch, $3.00 

By Maria Grisi, Soprano ; Francesco Cicada, Baritone ; Carlo Ottoboni, 

Bass ; and La Scala Chorus (In Italian) *1 65 70 10-inch, .75 

This record begins vntYi a chorus of soldiers, who have explored the castle but have found 
no trace of Emani. The King is about to torture Silva into revealing the secret, when Elvira 
rushes in and begs the mercy of his Majesty. Carlos turns to her, and sings consolingly of 
the bright future before her as his Queen, and in the great trio which follows the con- 
flicting emotions of those in the scene are expressed in Verdi's fiery music. 



A te scegli, seguitni (Choose Thy S^word, and FoUo^w!) 

By Luigi Colazza, Tenor, and Torres de Luna, Bass 

(In Italian) *35169 

The King, his followers, and the Lady Elvira having retired, 
Silva exclaims: "Hell cannot hate with the hatred I bear thee, 
vile King I ** He then takes down two swords from the armory, 
and releasing Emani from his hiding place, challenges him to com- 
bat. Emani refuses, saying that his life belongs to Siha, who has 
saved it. Silva taunts him with cowardice and Emani consents to 
fight, but asks for one look at Elvira. Silva replies that the King has 
taken her away. *' Fool I " cries Emani to the astonished Grandee, 
*' the King is our rival I ** and agrees to combine with Silva against 
their mutual foe. Once their revenge is accomplished, Emani agrees 
to yield his life at Silva *s call, and gives him a hunting horn which 
shall be the signal for his (Emani*s) death. For this magnificent num- 
ber Verdi has written some of his most dramatic music. 



12-inch, $1.25 



In arcion, cavalieri (To Horse, Ye Warriors) 

By Giuseppi Sala, Tenor; Cesare Preve, Baritone: 

and La Scala Chorus (Italian) *16571 10-inch, $0.75 

The act closes with the spirited duet and chorus by Emani, Silva 
and the warriors of the Don, who prepare to pursue the King to the 
death. 

ACT III 

SCENE — A Vault in Aix-la-Chapelle Cemetery 

O de' verd' anni miei (Oh Bright and Fleeting 
Shado^ws) 

By Mario Ancona, Baritone (Italian) 88062 12-inch, $3.00 ^^^ "^^'^ ^'^ ''*''^'*' 
♦ DouhlcFacMJ Record— For title ofopporite ride m* DOUBLE-FACED ERNANI RECORDS, pages 99 and / 00. 

98 




VICTOR BOOK OF THE O P E R A— V E R D I ' S ERNANI 

The third act occurs in the Tomb of Charlemagne at Aix-la-Chapelle. Carlos con- 
ceals himself in the tomb of his ancestor to witness the meeting of the conspirators who 
are plotting against him. He is depressed and melancholy, and sings this famous O de oerd, 
in which he pledges himself to better deeds should the Electors, then in session, proclaim 
him Emperor. 

Si ridesti il leon di Castiglia (Rouse the Lion of Castile) 

By La Scala Chorus (/n Italian) *16571 lO-inch, $0.75 

The conspirators, among whom are Emani and Siloa, assemble at the tomb. Emani is 
chosen to assassinate Carlos, and greets the decision with joy, exclaiming that his dead father 
will at last be avenged. The great ensemble then follows. 

O sommo Carlo (Oh Noble Carlos) 

By Mattia Battistini, Baritone : Emilia Corsi, Soprano : Luitf i Colazza« 
Tenor ; Aristodemo Sillich, Bass ; and La Scala Chorus 

{In Italian) 92046 12-inch, $3.0O 

By Maria Grisi, Renio Szng,iorg,u Francesco Oti^dM. and La Scala Chorus 

{DwikU-faud—Sechthw) (In Italian) 35170 12-mch, 1.25 

The booming of cannon having announced that Carlos is proclaimed Emperor, he comes 
from the tomb and surprises the conspirators. At the same time the Electors and the King's 
courtiers enter from a secret door. Carlos condemns the plotters to death, when Eloira rushes 
to him and asks for mercy. The Emperor heeds her, pardons them all, and unites Ehira 
and Emani, In this great finale all glorify the Emperor except Silva, who still secretly cries 
for vengeance. 

ACT IV 

SCEINE — Terrace of a Palace in Aragon 

Festa da ballo (Hail, Bright Hour of Gladness) 

By La Scala Chorus {In Italian) *16572 10-inch, $0.75 

The lovers are now happily united, and this scene shows them bX Emani* s palace, which, 
with his estates, has been restored to him. A chorus of ladies, masks and pages greets the 
happy pair. 

Fema crudeU estin^ere (Stay Thee, My Lord !) 

By Maria Bernacchi, Soprano ; Luigi Colazza, Tenor; and Torres de Luna, 

Baritone {DwMe-factJ—Seththw) {In Italian) 35170 12-inch. $1.25 

Ehira and Emani are alone on the terrace, oblivious to all but each other, when a blast 
from a horn is heard. Emani awakes from his dream of bliss and recognizes the sound of 
his own hunting horn, which he had given to Silva as a pledge to die when the revengeful 
Don should demand his life. The distracted Eloira pleads with Siha for her husband, but 
in vain. After an affecting farewell Emani fulfills his vow, stabs himself and dies, while 
Eloira falls lifeless on his body. The curtain falls as the cruel and remorseless Siloa is gloat- 
ing over his terrible revenge. 

DOUBLE-FACED ERNANI RECORDS 

Infelice e tu credevi By Perell6 de Segurolzn Bass\|.e/x/v7 i^ i^^u «i <n 

Puritani—Sorgea la notie ByPerell6deSegurola.Bass{InItalian)]^^^^^ IZ-mcn, »1.DU 
Ferna, crudel By Maria Bernacchi, Soprano : Luitfi 

Colazza, Tenor ; and Torres de Luna, Bass {In Italian) 

O sommo Carlo By Maria Grisi, Soprano ; Remo Santfiorifi, 

Tenor: Francesco Cicada, Baritone: and Chorus {Italian) 
Emani Selection By Pryor*8 Band 

Meistersinger — Prize Song By Victor Sorlin, ^Cellist 

A te scetfli, seifuimi By Luitfi Colazza, Tenor, and 

Torres de Luna, Bass {In Italian) 

Wedi conie il buon vetfliardo By Maria Grisi, 

Soprano: Remo Santfiortfi. Tenor : GiuseppiSala, Tenor: 

and Carlo Ottoboni, Bass {In Italian) 



35170 12-inch, 1.25 
35111 12-inch, 1.25 

35169 12.inch, 1.25 



* Daukk^Faced Record— For title ofopporiU ridt «ee DOUBLE-FACED ERNANI RECORDS, page 100. 

09 



VICTOR BOOK OF THE OPBR A— V ERDI'S ERNANI 

{Bevi«m. b«vi«ni By La Seala Chonu (In /(oAdn)! 

Da quel di che t'ho vediiU ByAnfela de Anfelia. >9SI68 12-iiieb. *1.25 

Soprano, and Fraoceaco Ciffada. Baritone (/n Italian)] 

IO tu ehe I'alma adora By Martinex-Patti. Tenor. 1 

and Chorua (In tlallanU..,.- ,- . „. _, 

Quante d'IberU tfiov.ni By Ida GiacomeUi. Soprano. ?'*'»*' 10-inch. .IS 
and Chorua (in llallan)] 

I Finale, ActI By Maria Griai, Soprano ; Carlo Ottoboni, 1 
Baaa; Remo Sangiortfi, Tenof : and Giuaeppi Sala. Tenorl ,,.. _ <n -_ u -tk 

Tu ae'Ernani By Ida Giacomelli. Soprano; Martinez- »"*» lO-iocn. .79 
Patti. Tenor: and Enrico Pignataro. Baritone (In Italian)] 
(Eaultiamt By La Seala Chorua (In Itallan)\ 

Oto quant' oro By Maria Bemaechi, Soprano: >16569 lO-ineh, .T5 

Luiei Colazia. Tenor ; and Torrca de Luna. BaM (/n Italian) \ 
11^ vedrcmo By Emeato Cafonna. Baritone, and ] 

Torrea de Luna, Baaa (In ftoAon)! , . ,-. ,. . „. ,t 

Vieflimeco ByMarUGri.i.Sopraoo: FranceacoCiJada. [*""> 10-inch. .73 
Baritone: Carlo Ottoboni, Baaa; and Chorua (/n Italian)} 
{In arcion, cavalier i I By Gluceppi Sals, Tenor: ) 

Ceaaie Pfeve, Baa* : and Chorua (/n llallan) ll697l lO-incb. .79 

Si rideati il Icon di Caatiflia By La ScaUChofua (llallan)] 
(Festa da ballo "O come felici" By La Seala Chorua 1 

Hamht—O dfn. dltcacda la bittexxa 1 

Btl Francaeo Qgada, Bartlone, and Chonu (In Italian)] 
(Ernaui iuvolami (Emani. Fly with Me) 1 

By Maria Griai. Soprano (In llallan)]. ,, -, in_:_„k tk 

Bella In Matchaa—O FigUo I Inghllttrra 631 73 IW-incn, .79 

Bif Huguet, SaleaJor, QgaJa, Slltich, and Ckanit (In Italian)] 
rinfellce e tu credevi (Unhappy Onet) 1 

™''±?,'^:^*^'''-®"' ^'"'"'''"^03421 lO-inch. .73 

■y Giorgio Molad. Ttner (Inltollan)] 

{Come rugiada al eeapite By Luitfi Colacia (In Italian)] 

O tu cbe I'alma adora [62627 lO-incb. .73 

-By Martinez-Patti. Tenor, and Cborua (In Italian)] 



i Afanon— OA, Manon' lanprt la i 





FALSTAFF 



COMIC OPERA m THREE ACTS 

Test by Boito, taken from Shakeapeare'a comedy. The Afeny WlMt of Wliubor. Music 
by Verdi. First production, Milan, March, 1893. FirM American praduction at the Metro- 
politan Opera Houte, New York, February 4, 1895, under the direction of Maurice Grau. 



Chsrictera lod Oritftiial Metropoliuo C**t 

Sir John FalsTAFF Baritone Maurel 

FENTON, a young sentleman Tenor Ruuitano 

Ford, a wealthy burgher Baritone. . .Campanari 

Dr. CAIUS, a physician Tenor 

B^;Sf'.},olk,-.„..F.b«. [T] 



Bau. 

Mrs. ALICE Ford Soprano . 

NANETTA her daughter Soprano . 

Mrs. QUICKLEY Contralto. . 

Mrs. Meg Page Mezzo-Soprano. . 



Rlnaldlni 
. Nicolini 



dcLuH. 



.de Vi 







it waa the youthful dream of the great composer, Verdi, 
to write a comic opera, but it was not until he was nearing 
eighty years of age that his dream waa realized. The music 
of Fahlaff denolea in all things almost the antitheaia of the 
style and methods and ideals of Verdi's early operas. The 
music is vivacious and aparkling, being interspersed with 
delightful fragmenta of melody. 

Sit John tahlaS is a merry rogue, aa conceited aa to be- 
Here himaeU irreaiatible to all womankind. His egotism 
leads him to think he has fascinated both Mlilrtu Page and 
Mittrttz AIke FarJ, and he writes each of the ladies a love 
letter identical in contents. The two women compare the 
notes and plan to punish the Knight for presuming to address 
them in such terms of affection. 

Ford leama of Falilifff's advancea to hia wife and flies 
into a jealous rage. Mlalras Ford aenda Dame QufO^/^ to Sir 
John with an invitation to call which he is quick to accept. 
Scarcely doea he arrive at ForJ'i house than Dome Quld^ty 
reports the coming of Mlalrai Page, and Falalnff is com- 
pelled to hide behind a screen. Then the angry Fold 
appeara with hi* f riendav determined to capture Feloiff, but 
101 



VICTOR BOOK OF THE OPERA— V B RDI'5 FALSTAFF 



tho latter take* refuge in a 
clothes baalcet. MUtrat Ford 
hai the basket thrown into the 
ditch, and the unlucky luitor 
receives a good shaking-up 
before the jeering crowd. 

Fahiaff, undaunted by his 
baaket experience, arranges 
to meet Lady ForJ again, the 
tiysting place this time being 
at Heme's Oak, in WindaoT 
Park. Ford and hU men. in- 
cluding Piilola and Bardot/o, 
who have turned against Fal- 
ifi^because ot his bad treat, 
ment of them, overhear the 
■rrangementa and plan to be 
ttierealso. Now, Fon/'i daugh' 
ter, Nanetta, Is in love with 
Ftnlon, but hei father de- 
mands that she marry Dr. 
Ca/uj. ForJ telU the doctor 
that thia is a good time for 
him to secure NontUa, and 
promises to aid him. Dame 




Qalckley. however, learns 
of this, and the women 
plan to have Fenlon spoil 
the designs of the phy. 

Falalaff't love scene 
with Afltlrtn Ford is inter- 
rupted hy Ford't friends, 
disguised as elves and 
fairies, who thrash the fal 
knight soundly. In the 
confusion Dr. Coiui mis. 
takes Bardoi/o for Nanella, 
ForJ is finally won over, 
and his daughter and 
Ftnton are happily maT- 

The Victor offers two 
very fine records of two 
of the best known airs 
from the opera: the Quand' 
tro pagglo, sung by FaltUiff 
to MMroi AUct Ford in 
Act II ; and the Sal fit 
J'art M^ from Act HI, 
sung by /VoMffo as the pre- 
tended fairies gather in 
WIndK>r Park. 



Quand* ero pa^gio (When I 'Was Page) 

By Antonio Scotti, Baritone (/" llalian) 88194 

Sul fil d'un BofEo (Borne on the Breeze) 

By France* Aid*. SopTBDo (hllalim) 88247 





12-ioch, *3.00 



12-iach, »3.00 




OPERA FN FIVE ACTS 

Worrf» by Barbicr and Carff, founded upon 
Goetbfs iragedy. Mu«c by Charle. Gounod. 
Firsl produced al the Tkiiairt Ln-iquc, Pari*. 
March 19, 1859. Fir.l performance in London 
New York November 26. 
my of Music, with Kcliogg, 
Maaolenl, Biachi and Yppolilo. 

nous Americat. , 
in 1683, with NiUson, Scalchi. a 
panini ; and (he same yearwilh Nor 
(d*bui) as Margua^ilc; in 1892 « 
:a. ihe de Reazkes and Usall 
recently with Caruso and Farrar. 



Characters 

Faust (f™m(1 Ten 

MEPHISTOPHELES (Mrf-iHJif'-^IJHi) Ba« 

Valentine (I'a/'-t^tan) BarLione 

BRANDER. or Wagner Baritone 

SIEBEL [Stc'Jul) .. . Mean- Soprano 

Marguerite < M-hr.g«t<-rt() Soprano 

Martha Contralto 

Students. Soldiers, Villager.. 

Spirits. 




Fiust. the Afed Philovopber, ^X'orie* of Life 



VICTOR BOOK OF THE O P E R A — G O U N O D 'S FAUST 

FAUST 

Fi(ty-four years have elapsed since the first production 
^^_ ^"'^^'^^'^^^ ■** 'I''" •n"'erpi«c by Gounod; and it is to-daysung 
^^1 B H I ^^1 ^^H throughout (he world more than any other five opera* 
■■ ■ ■ ■ ■■ III combined. At the Paris Optra alone it has been given 
■l" fM ■ I ^^ ■ more than 1500 times, and the new setting recently pro- 
W fV 11 ^B I vided foritthere cost notlessthan I3a000(rsncs.asum 

■ ■ ■ ■■ ■■ ■ which would not be risked on any other opera whatever. 
H I H ^V W^^ ^1 It seems strange now, in view of the overwhelming 

18 of Faust, to recall that it was received with indif- 
e in Paris, and all but failed in Milan. The London 
production, however, with Titiens, Giuglini. TrebelU, 
' ;r and Ssntley, was quite successful; and in the 
ing June Palti sang Margutrile for the first lime, the 

The story is familitu' to almost every one and will be 
hut briefly sketched here. The libretto by Barbier and 
Carre does not attempt to follow the Goethe drama, but 
merely makes use of the Fautt-MaiguaUt incident This 
II sufficient, however, to provide an intensely interesting 
subject for Gounod's lovely music 

Prelude to Faust 

By L'Orchestre Sympbooique, Paris 58016 12-uich, *1.00 

The prelude to Faust is a short one. merely giving a clue to the drama which is to 

follow. The fateful single note of the ' " 

orchestra with which it openi 

OUB chromatic chords stealig 

strings form B fitting introdui 

of such unusual portent. 

Tlie tempo is then accelerated and ■ 

•age suggesting FauMl'i mental strugglea 



:ly melody in F major ( Z)(o pojaend) 

The prelude closes with sustained chords, solemn and impressive. 

This number is rarely heard apart from the opera, and so excellent a reproduction as 
this one by the orchestra will be highly appreciated. 

ACT I— The Compaei 

The first act reveals the studio of Fauit, an aged philosopher and alchemist, who is 
seen surrounded by musty parchment rolls and the rude scientific apparatus of the fifteenth 




I of learning, he realizes that he knowi 



aged Faual, as after a 

but little of true knowledge. Tired of the struggle, he resolves to end it with a poisonous 
draught, and raises the goblet to his lips; but pauses as the songs of the happy peasants 
float through the open window. He goes to the window, and filled with rage at the sight 
of human happiness, he curses all earthly things and calls on Satan to aid him. 

This scene is given in a most impressive record by De Tura and the La Scala Chorus. 

La vaga pupilla (Rise. Slumb'rinif Maiden) 

By Geonaco De Turi and La Scala Chorus (/» llijlan) 



16019 12-iDcb, I 



Ah 



! careleM, idlr msidrn. 
lenfore dreaming still? 






h for' 



If I pray there is none to hear 
To give me bade my love. 
Its believing and its glow. 
Accurst be all ye Ihoughts of ei 



VICTOR BOOK OP THE O P E R A — C O U N OD ' S PAU8T 




Mtpt^Uophtltt, Btdted in the Attn 
of a gallant, promptly nppieBn in re- 
■potiae to the call and propoaea that 
the good Docloi ahall enter into a com' 
pact with him. In letum for richea, 
glory, power, anything he deairea, FaUMt 
■hall merely give up hia aoul. The 
aged philoaopher, apuming gold or 
power, cries out for youth, only youthi 

lo voglio il piacer (The 

Pleasures of Youth) 
By Gaeuoo Pioi-Corii. Teaor: 
Ariatodemo SiUich, Baa* 
(hitaiian) *b^\TA IO-in..»O.IS 
The bargain ia aoon agreed upon 
and Fauil ii about to pledge hia ioul 
in return for youth and love, but aa he 
atill heaitatea, Mtphldo aaya, "See how 
(air youth invilea 3roul Look I" 

O merveille (Heavenly 

Vision) 

By Enrico Csluao. Tenor: 
Marcel Joumet, Basi 
(In Fnnclij 89039 I2-in., *4.00 

Then (olknva the delicate paaaage 
for atiinga which accompcuiie* the via- 
ion. Faiut, gazing raptuTOualy on the 
beautiful Maifuaitt, ainga: 




Theacrall ia aigned in letters of bxcFaial 
drains the magic potion nnd ia IrBnalormed 
into a youth. The apirited duet which followa, 
ending the first act. ia sung with fine effect; 
both of the Victor renditiona being moat 
attractive onea. 



ACT II— The Fair 
( Tht tctne Mhoaa a fair In pmgresa In the public tqaan of a Ctrman lomn) 
A motley crowd of student*, soldiers, old men. young women and matrona arc diapoTt- 
ing themselves — drinking, talking, flirting, quarreling : and this animated chorus, with which 
the Kermeaae Scene begins, graphically pictures the whole. 

Kermesse Scene 

By New York Grand Opera Choru* (/n llaUan) 74213 12-ineh, fl.SO 

By La Sola Choru* (/n tlallon) *6BI60 I2'inch. U3 

Each group delivers it* quota in distinctive fashion, the soldiers' sturdy declaration con- 
traating with the laughing, chattering paaaages allotted to the women: the high-pitched 
falsetto of the gossiping old men alwaj^ proving a favorite portion of this number. At the 
close the different group* combine into a chorus of »i« parts. This wonderful piece of 
choral writing is reproduced in a striking manner, and gives a most realistic picture of the 
Kermesse. 



*Diitk^aaJ RutrJ—Fv tllk tf tatimltc .Id. •. 



DOUBLE-FACED FAUST RECORDS, h 



VICTOR BOOK OF THE O P E R A — G O U N O D ' S FAUST 



While (i>-day each hol-headed boy 
Fighls foi lo-clay'a lillli glory! 



Had ihe U 
They waul 

SOLDIEIS; 



Here [^altnUm, tKe brother of Marguerlle, 
about to depart (or the wai, and Ke sing* th 




Dio poBSente (Even the Bravest Heart) 

By Antonio Scotti, Biritooe (In Italian) 88203 H-ioeli, tS.OO 

By Emilio de Go«oria. Baritone (In Italian) 88IT4 12-ineli, 3.00 

By TitM RuEFo. Buitone (In Italian) 92043 12-incIi, 3.00 

By FranccKO Ciffada (Dtnilc/aaJ—Sf pagt 125) {Italian) 662r5 12-inch, 1.23 
In the preceding recitative he ipeaka of hii fear* in leaving hia aiatet Margutiitt alone, 
and contemplate! with affection the amulet ihe hoi given him to bring good fortune. 



The familiar "CBvatina" then followi 



Upon Che tented battleground. 

Bui when danger lo glory shall eall a 

I still will be first in ihe frav. 

As blilhe as a knight in bis bridal i 
Careless what fale may befall me, 
When elory shall call me. 

Oft shair I udty think of you 

When far away, far away. 



VICTOR BOOK OF THE O P E R A — G O U N O D 'S FAUST 




This Dio poatnlt vtas not in the origiiuil production of the opem, 
but wsa written by Gounod opecially for Sanlley in the English 
production at Her Mojesty's Theatre, 1864. 

The Victor offer* a wide choice to buyers of this fine "Cavatina." 
Scotti's yalenUm is always a revelation in drnmatic possibilibes. This 
rAle, too often allotted to a mediocre artist, is filled by him with 
dignity 1 and he makes a serious and soldierly yalentlne, singing the 
music with admirable richness of tone and beauty of expression. 

Although Mr. dcGogona has not sung the number in opera, it is 
frequently seen on his conceit progrsms. and he sings it superbly. 
Other fine renditions in Italian are the ones by RuRo, the famous 

as not yet visited 

Le veau d'or (The Calf of Gold) 

By Pol PUn<^n. Bms {InFraich) BI038 lO-ineh, IZ-OO 
By Marcel Jourael.B*M (/nFnncA) 64096 10-inch, 1.00 
We are now in the full bustle of the Fair Scene, where in front 
of an inn a crowd of drinkers are listening to one of their number, 
Wagmr, singing a somewhat coarse ditty concerning a raL Mtpldtta- 
phtla breaks in upon (he revelers, and offers to sing a song of his 
own, "The Song of the Golden Calf." After the diabolically sug. 
geslive introduction by the orchestra, with its semi-quavers and 
descending chromatici; we hear the bold opening passage of this 
anthem in praise of Mammon, of which the calf is symbolic 



nlnct mlh" «Sl m"^Mtfvrdrcle, 
Round about the pedcsiHl, 



Slai 



b^foM^Wa' °»e"h, 






Jot 



rendition is a spirited one, the i 
always being sung by him witi 
appreciation of its caustic raillery, 
net's record is also a splendid 
many respects, and shows the magnificent 
voice of this artist to great advantage. 

Mtphliloplitlet now proceeds to aston- 
ish the company by his feals of magic, 
first reading their palms and then draw- 
ing wine from the barrel of Bacchus— the 
inn sign perched up aloft — each man 
drawing the wine he Tikes the best 

The scene which follows, a most 
dramatic one, is given in a splendid 
record W Amato, Jouroet and ihe Metro- 
politan Chorua. 




VICTOR BOOK OF THE O P B R A— G O U M O D'S FA05T 
Fauat—Scene Us Epeea (Scene of the Swords) 

By Puqtulc Amato, Baritooe ; Marcel Journet. Baw ; and 
Metropolitan Opera Chorui 

(Giullo ScRi. Dinelor) 

(In French) 890S5 12-iacli. t4U>0 
Tbe record begina with the invocatioii to BaMhua. 

Mefhiitofiieles: 
I drink lo /DU all! 
nhrou-ing it OBf ailh a tery fact.) 
Bah! whit rubbishy wine. 
Let mc H« if I cannot find yau betterl 
ISIriHoe tht iixagr of Baechm vnth hit 

What ho,, Bacchui! up therel some liquor*! 



it powerlea* in hia hand. 



Enough! ' 




Whilst (his blest 






Thou cans 

tenor a. ik 

1, alternated with buc 



•oldiei* aing the choral. « 
■ of harmony, 
being rich and « 



!) is diacomAted, and c< 

itiB untaon paaaage For male voica 

This ia a remaTkably fine leproduc 
the dramatic feeling intense. 

The delightful waltz, which ha* been a model of ill kind ever nnca the fint per- 
formance of Fauat, now begina. 

Waltz from Kertnesse Scene 

By Pryor** Band [D«J.k-Fa:ti—Su pott 125) 16952 lO'inch. tO.TS 

Tliii favorite number ia played by the band with the abaolute preciaion and daintineaa 
which are indiapenaable to it* proper performance. 

Fauti now obaervea Marguerilt and approaching her, graeti her reipectfullj, offering 



Hiirh.hr 



vely maid. 



She modeatly declines; aaying : 

tliacuiBiiE: 
No. my lord, not 3 lady am 1. 



Faust (flni.-i, 



Itv my youlh! 
To help me on my way. Oh? darling ch 

The waltz now re.commencea and the act enda in a wild i 
all join — atudenia, aoldien and women. 

100 



id excibng dance, in which 



VICTOR BOOK OF THE O PE R A — G O U N OD '5 FAUST 




ACT III— The G«rden Seen. 
TheCwileD Scene of Fauat ia undoubtedly Gounod's fin«t inspiration; and theaeniuoUB 
beauty o( the mu*ic with which the compoier has aurrouDded the slory of Marguerilt'i 
innocence and trust betrayed, ha* held many millioD* in rapt attention during the fifty 
year* since it was first heard. 

Flower Son^ — Le parlate d'amor (In the Lan^a^e of Love) 

By Louise Homer, Contralto (In Italian) 81075 10-ineh. «2.00 

By Corinne Mortfin, Contralto {In EngUth) *390B6 12-iach. 1.29 

By RitiFornta, Soprano (In Fitnch) 64162 10-inch. l.OO 

By Emma Zaccaria. Meizo-Soprano (In Italian) *62089 lO-inch. .79 

This fresh and dainty song of Slebel ushers in the act. The gentle boy enters Maiguerile'a 

garden, thinking of the dark prophecy of MtpMttophda, who had told him (in Act 11} : 

"Each flows r 



MargueHIt by means 




then reappcara. 



VICTOR BOOK OF THE O P E R A — G O U N OD * S FAUST 

But the happy thought occur* to him to dip hia finger, 
font o{ holy water by the tide of the cottage. He doea ao, 
delisted to find the apell brokeo. The firat 
doai^ the aria. 

Tnis popular number ia offered in Italian by Homer 
Zaccatio. in French by Fomia and in Engtiah hy Miw Morgan. 

Salut demeure (All Hail, Thou Dwelling) 

By Enrico Caruio {In Fitnch) 88003 12-lnch. *3.O0 

By John McCormack (/n AdAan) 74220 12-inch. 1.90 
Mephlalaphcla and Fa\al, who have been aecretly watching 
StdxU now appear; the Tempter being in high (piiita at the appai' i 
ent succeu of hia achemea, while Faast gazea in rapture at the (t 
garden where his beloved one ia wont to walk, and nnga his lovely - 
cooaUna. He thu* rhapaodizea the modest dwelling of MarguetUe : 
All hail. Ihou dwelling pure and lowly! 
Himit of an angel fair and holy. 
What wealth is here, what wealth oulbidding gold. 
Of pea» and love, and innocence untold! 
Itounleous Nature! 

Twos here by day thy love was taught her. 
Here thou didtt with ^re overshadow thy daughter 




Made her an Eden-bower of beauty and delight. 
The Caiuso record of ihia number, which the tenor sings 
French, ia one of the finest in hia entireliat; while the other n 
dition is a splendid one by McG>rniack. in Italian. 




While Faiul is singing his apostrophe 
to Marguerffs'i dwelling, MepUMhpMet, 
with an eye to more practical things, 
has replaced Slebel't humble noaegay 
with a splendid bouquet, a more fitting 
accompaniment to the casket of jewels 
with which Marguerite is to be templed. 

Marguerite enters the garden, pen- 
sively dreaming of the handsome stran- 
ger she had met in the market place. 
Her entrance is announced on the clari- 
nets and violins in a lovely strain sug- 
gesting the coming aong. 

She seats herself at the spinning 
wheel and murmurs dreamily : 



Le Roi de Thule (Ballad of 
the King of Thul£) 

By Gefsldine Farrar. Soprano 
(Flench) 88229 12-in„ 13 00 

Then rebuking herself for her Idle 
^■<!s,Bhe applies herself to her spin- 
and begins this plaintive cAonmn .- 



Caused a cup of gold t< 



VICTOR BOOK OP THE OPERA— G O UNOD'S FAUST 

Then her thought* return to Faial, and breaking off tha Kitta •he nnga u if to heraeK; 




Again impabent with her wandering mind, she linithea the ballad. 

M)M Farrar tingi this beautiful folk-song with •urpaning lovelineM of voices ■ 
the dreamy lenlimental style which it require*. 

Finding herielf in no humor to spin, MargtttrUt move* 
toward the house and *ee* the flowers, which she stops to 
admire, thinking them from Siebtl. The has of jewels then 
catches her eye, and after some misgivings she opens it Then 
follows the bright and sparkling "Jewel Song," or Air da bijoia, 
in which childish glee and virginal coquettirnhneas are ao happily 

■'Oh llcav-n: what brillianl gtm>[ 
Can Ihey bt rtil? 

Oh neicr in my llrcp did I drtam of sugbt 
so lovely!" 
exctaima the delighted MargucHle. 

Air des Bijoux (Jewel Song) 

By Nellie Melba. Soprano 

(/n Fnneh) 86066 12-inch. tS.OO 
By Mtfcell* Sembf ich, Sopraoo 

{In Frtnch) 08024 12-illcb, 3^0 
By Geraldine Farrar. Soprano fatti as haicubsiti 1875 

(InFitnch) 88147 ll-inch. 3.00 
ByCiufeppinaHuguet (DtMc-faaJ—Smpttil35) (In llallaa) 68160 12-inch. *l.25 
No leas than four fine records of this well-known and popular air are presented for 
the choice of Victor opera loveia. 

Melba's rendition is ■ most delightful one, her 
voice exhibiting the most entrancing amoothnesai 
in ita loveliness, flexibility and brilliancy it seems 
absolutely without a flaw. 

Semhrich'a Margualle was always a line imper- 
sonation, and her delivery of the number is exceed- 
ingly artistic, being one of the cleanest and moat 
linidied bits of colorature singing ever heard in 
opera. 

Miss Farrar'a brilliant Majgaerite haa been much 
admired during the past few seasons, and this 
number shows well the lovelineaa and flexibility of 
her voice. A fine record at a lower price is con- 
tributed by Mme. Huguet, doubled with the Ker- 
mea*e record de*cribed in Act II. 

Quartet — Sei^eur Dieu I (Saints 

Above. What Lovely Gems I) 

By Gcraldine Farrar. Soprano; Enrico 
Caruso, Tenor; Marcel Journet, Bass; 
and Mme. Giltbert, Mczzo-Sopranb 

(/n Frtnch) 93204 12-inch, »5.O0 

The firat of the great quartet records begins 

with the entrance of Martha, a suaceptihle matron 

who is companion to the motherleaa girl The 

duetma is struck with aatoniahment at the sight of 




VICTOR BOOK OF THE O P E R A — G O UNO D '5 FAUST 




the jewel*, and begin* to que*tion Margmrite. 
when she ii intemipted by MephMophtlea, who 
appears with Faiul ; anil to excuae hi* cntnnce 
tella Martha that hei husband i* dead. Thia 
announcement is received witK crie* of srief and 
sympathy from the women, and the impreiaive 
pause which enaues ia followed by the beautiful 
quartet, in which Gounod expresaea the varioua 
emoliDna of the characlen. 

Mephlilophtla then begins to flatter tha vain 
matron and pay her mock attentions, so that 
Faust may have an opportunity to plead hia cause 
without interruption. This dialogue vnth the 
susceptible duenna furnishes the only touch of 
comedy in the opera. 



Meit. 
■ lap 



will b- 



c for ] 



I Iruit he may be worthy! 

Fatal urges the timid girl to take his arm, 

at which she demurs, while the craf^ Tempter 

continues his Batteriog attentions to Martha. The 

second quartet bit then follows, closing the 

Quartet — Eh quoi toiu'ours seule ? 

,A«sT KovENT CA.D«». ,B<,j> (gm Why So Loncly ?) 

By Geraldin« Pami, Soprano; Enrico Caruso. Tenor: Marcel Journet. 
Bs**: and Mme. Gilibert, Mezio-Soprano 

(JnFniKh) 9920S ll-ioeh, t5.00 



The second part of the scene 



She 



•niides t< 






with the beautiful dialogue between Marguerite 
iness. and in an exquiaite paaaage speaks of her 



One dUT litlle sUtcr I hsd. 
But 1h« ilsrling. loo. ia dradl 

Faust ia tender and sympathetic, and the im.. 
preasionable girl's heart turns more and more 
toward the handsome stranger, who seems all 
that a lover should be. 

The record closes with the final quartet pas- 
sage, by far the most effective bit of concerted writ- 
ing in the opera. It is magnificently sung here, 
the balance of the voices being absolutely perfect. 

The recording of so complex and varied a 
piece of concerted music as is contained in these 
t^'O records is a marvelous piece of wrork, and 
one of the most amazing achievements in the 
reproduction of operatic music yet heard. The 
solo, duet, and quartet parts which corutitute it, 
the abort pieces of dialogue between various 
persons, not forgetting the important orchestral 
interludes — all theae are portrayed with the utmost 
fidelity, making a marvelous musical picture of 
one of the most interesting pages of Gounod's 
charming score. 

Mefihlstophe/a has succeeded in getting rid of 
Martha, who vainly looks for him in the garden, and 
he now watches with satisfaction the kivets, who 
are wandering among the trees in the moonlight. 




^.% . ''^^^'^^i 


l^PP 








N 

8 




l^g^E^ 




-"^.^Eacaaa^bda^ 


fii 


ypilLLu-^iSSSI 



Marf uerite'i Surrender 



VICTOR BOOK OF THE O P E R A- G O U N O D '5 FAUST 

The Tempter now sings the famous Incantation, in which he calls upon night and 
the flowert to aid him in his diabolical plot against the soul of Marguerite, 

Invocation Mephistopheles (Oh Night, Dra'w Thy Curtainl) 

By Marcel Journet, Bass {In French) 64119 lO-inch, $1.00 

Stretching out his arms, he invokes the powers of Night, that its mysterious scents and 
seductive charms may aid him in his work of the lovers* undoing. In this stately passage 
the singer drops for a time the satirical vein of the previous quartet, and gives the invo- 
cation with befitting solemnity and grandeur. 

Mephistopueles: 



It was high time — O night! draw around them thy curtain 

th " - - - 



See, 'neath the balmy linden. Let naught waken alarm, or misgivings ever! 

Our lovers devoted approaching; 'tis well! Ye flowers, aid the enchanting charm. 
Better leave them alone, Her senses to bewilder; till she knows not 

With the flow'rs and the moon. Whether she be not already in Heaven! 

This is the most impressive passage in the whole part of Mephisiophelet, and it is mag- 
nificently sung by Journet. 

The lovers appear again, and Mephisiopheles discreedy retires from view. The first part 
of the exquisite duet then follows. 

Tardi si fa I (The Hour ia Late I) 

By Geraldine Farrar, Soprano, and Enrico Caruso, Tenor 

(In French) 89032 12-inch, $4.00 
By Giuseppina Huffuet, Soprano, and Fernando de Lucia, Tenor 

Piano Ace, (In Italian) 92053 12-ineh, 3.00 

Marguerite, finding herself alone with Faust, looks in vain for Martha, and not seeing 

her, endeavors to bid farewell to her lover. 

Marguerite: Bright and tender. lingers o'er mel 

The hour is late! Farewell! To love thy beauty too! 

Faust: Marguerite: 

Oh, never leave me, now, I pray thee! Oh! how strange, like a spell, 

Why not enjoy this lovely night a little longer? Does the evening bind me! 
Let me gaze on the form before mel And a deep languid charm 

While from yonder ether blue I feel without alarm. 

Look how the star of eve, With its melody enwind me. 

And all my heart subdue! 

Hie second part of the duet begins with the lovely Sempre amar, in which Marguerite 
and Faust pledge their love. 

Dammi ancor (Let Me Gaze on Thy Beauty) 

By Alice Nielsen, Soprano, and Florencio Constantino, Tenor 

Eternelle (Forever Thine) ^'"""""^ '**"* «-inch. ♦1.50 

By Geraldine Farrar, Soprano, and Enrico Caruso. Tenor 

(In French) 89031 12-inch, $4.00 

And now the lovers plight their troth in the fateful word ** Eltemelle,** which, with the 
solemn chords in the wood wind, sounds like a true lover's sigh. 

Faust, in an exquisite strain, calb on Heaven, the moon and stars to witness that his 

love is true. 

Marguerite: 
Faust: By that tender vow that we have sworn, 

O tender moon. O starry Heav'n ?^.«\^rtif^l*'n,f «lIil"J''2ISr;ii''to h. ao„.i 

Silent above thee where angels are enthron'd. Faust- ^ ^ ^ ^ 

Hear me swear how dearly do I love thee! Oh, 'fair and tender child! 

{Struck vnth a sudden fear, the ttmxd girl begs Angel, so holy, thou shalt control me. 

Faust to depart): I obey — but at mom? 

Marguerite: Marguerite (eagerly): 

Ah! begone! I dare not hear! Yes. at morn, very early! 

Ah! how I falter! I faint with fear! „ ^t morn, all day! 

Pity, and spare the heart of one so lonely! ^^^gf^^ ^^^^ ^^ ^^^, Thou lov»st me? 

Faust (tenderly protesting): (^she hastens toward the house, but stops at the 

Oh, dear one, let me remain and cheer thee, door and xvafts a kiss to Faust) I love thee! 

Nor drive me hence with brow severe! Faust (in rapture): 

Marguerite, I implore thee! Were it already morn! Now awayl 

115 



VICTOB 



BOOK OF THE O P E R A- G O U K O D'3 FAUST 



Elle ouvre sa fenetre (See t She Opens the 
Window!) 

By Geraldine Fsrrar. Soprano, and Marcel Joumet, 
Bmb (/» French) 8»040 12-in«I>. t4.00 

Ei m'ama (He Loves Me 1) 

By Celeatiiu BaninMgiu. Soprano 

(/n llaUan) 88296 12-iacll. tS.OO 
(TU> ii ilu •>m* Klcstioa u 8»IM0 with th* ihoct dulofiu 

bowscB Faiut uul Mcptiiiloplicla omiiNd) 
Huirying sway full of thoughu of the morrow, when he 
will aee his Marguerite (Lgain. Faiuf is confronted by the sneering 
MephiilofiheleM, who baTB his way. 





Margutiilt had entered the house, 
but returns to the window, looks out at 
(he night and stars, and pours forth faer 
soul in song. 



Rtwal il aosin, bird 
Soft wind tliat fallcsl 



Ah. tpecd, thou night, sway! 
One of the most original and 
beautiful of the Faust melodies, ihia 
makes a fitting tennination of (he ex- 
quiai(ely beautiful Garden Scene. A 
lovely melody in 9 B lime, divided 
between ilute and clarionet, forms the 
basis of the movement, and in this 
the soprano joins in short dreamy 

Her longing for the pssaing of 
night and (he return of FausI, ex- 
pressed in the last ecslahc phraae, is 
■nswered by the cry of her lover, and 
Mtphlatophela, who has been holding 
Fauil back, now releases him. 



Man 



■;»j™): 



VICTOR BOOK OF THE O P E R A — G OUNOD 'S FAUST 



Fantasie from Garden Scene 

By Miiclu Elnun, Violinin (Piano ace.) 

For thoae who wish to enjoj' •ome of the exquiiile melodiei 
mental form only, the polpoani by Elman ia included here. ' 

In (his record the young aitiat does not ihow ua feata of execution, but biins* out all 
the aenauou* beauty of the music which Gounod composed for thia inuDortnl acene. It ia 
one of the lov«lie«t bit* of violin playing imaginable. 

ACT rV— The Desertion 

Quando a te lieta (>Vhen All Was Yountf) 

By Louise Homer, Contralto (In Italian) 86200 12-inch. $3.00 

The opening of the fourth scene shows the unhappy Margaerile seated at her spinning 

wheel, brooding over the sorrowi which have overtaken her young life. Sitbel, her faithful 

friend, enters and talks of vengeance against the absent Faaal, but Margaerile defend* hini 

and Badly goes into the house. Left alone, Slebet, ■u*'^ ^ ^ - ■ - . , .- , . ; 

This song has long been a favorite number with many famous contrshoa. and its lovely 
melody is frequently used in our churches as a setting to "Come Unto Me," and other 



Kow'"'ikl 1 



r friend, t 



tlope and 
We were 



of Auti 



dark is O Mi 



leaf of gold! 



lorm the 
Siill on 



e wind bloH 
mmtr gsrdf 



The acene abruptly changes to the square in front of the cathedral, with the house of 
MargueHte shown at one side. The victorious soldier*, just returned from the war. enter, 
accompanied by delighted wives and sweetheHTts, and sing their famous Soldiers' Oiorus, 
a jubilant inspiring number, and one of the finest marches ever composed. 

Deponiam il brando (Soldiers* Chorus) 

By New York Grand Opera Choru* (InFnnch) 74214 12-inGh, »1.50 

By Pryor's Band {DouUt-FuctJ—SB: page 125) 16S02 10-iach, .75 

By Ls Seals Chorus (Daahk-Fae*i—SH Pf 125) illation) 62624 lO-inch. .79 

By Mountain Ash Party of Wales (/n Engtith) 968» 10-inch, .60 




BOOK OF THE O P E R A — G O U N O D '3 FAUST 



(ered, both vdcbI and iiutrumental, *nd a 
The SoUien' Chorua — Deponiam tl bfando — D^poaona le* armea 



Y«»: 'lis a joy tor mtn vi'ciarious, 

To Ibe children by Ibc fire. tremblinE ii 

To oTi'mge of old time aiorious, 
To Ullc of war's HUnnsT 

GI017 and love to the men 0/ old. 



.eady lo fi^ht or ready U 



> dure. 



impct 



Gior; 



of old, I 



The unhappy Margatrili, ahunned by her companiona and deaeited by all aave the 
faithEul Slebd, ia broocfng within the cottage, fearing to meet her brother, who haa juit 
returned from the war. Mtphlttoliliela, not content with the evil he haa already wrought, 
retuma to taunt the maiden with ber fault, and lingi thia iuaulting and literally infernal 
aong, each verae of which enda with a mocldng laugh. 




VICTOR BOOK OF THE O P E R A— G O U N O D'S FAUST 
Serenade — Mephistopheles (Catarina, While You Play at 



Aiter the second vi 



'> this famous passBse — 



with it* beginniaB on s bigh G nnd its octave jumps to the low C, concluding with a peal ai 
MephiMopnelean laugkter. 

Two veriions, by two fninous exponents of the part of MeplHilophela, are oflereil 
for your choice. 





single kiss from thy n 



f^ncon's Mephlihphtla was invari- 
ably a finished performance — witty, ele- , 
gant, debonaire and ■onoroua. It is a ^,,., „,,„., 

Elished Devil that be pictured; yet jii lba us w.iRciFiiiir 
neath the polish we could see the tMutcM scehi 
sitiister Satan ever present. In his record 
» A o A v*LEsiiHE ^[ jj^j^ mockjng serenade he is at his heat, and the number is sung with 
the brilliancy and vocal linish to be expected of this fine artist. 

Journet's impersonation has also been highly praised, and he sings the music superbly, 
ACtinK with freedom and with an elegance that exhibits the Prince of Darkness as' • 
gentleman, though we never lose sight of his inner nature. Tlie famous serenade IB 
given with much spirit by this artist. 

Que voulez-vou9. messieurs? (What is Your Will?) (Duel 
Scene) 

By Enrico Caruso. Tenor: Antonio Scotti, Baritone; and Marcel 

Journet, Bass (/n French) 95206 12-inch. fS.OO 

By Elli*on Vsn Hoose. Tenor: Marcel Journet, Baas; and Emilia de 

Goforza. Baritone [In French) 74CW4 ll-incb. 1.90 

Valtnline, smarting with shame of his sister's disgrace, comes from the house and ex- 
chuma, "What is your will with me>" Mtfihhtophtla replies in his most mocking 
voice that their "serenade" was not meant for him. "For my sister, theni" cries 
Valtntlat in a rage, and draws his sword. Tlie great trio then follows, leading up to a 
splendid climax. 

This thrilling trio forms one of the most effective scenes in the opera, and is closely 
followed by the duel, in which Vaientint is wounded. 




The Death of Valentine 



VICTOR BOOK OF THE O P E R A — G O U N O D*5 FAUST 



Morte di Valentino (Death 
of Valentine) 

By Antonio Scoiti. Baritone, and 

Graad Opera Chorus 

{JnFitncb) 88282 12-inch. *3.00 
Leaving the wounded Valentine on 
the ground, the auailants rapidly de- 
part, and a crowd of aoldicTa and 
women awemble around ihe dying 
■oldier, the chorua here crying out in 
acceiUa of pity, in which jVf HFgucrf/e join*. 
ValtnUnt, aeeing hia aiater. ultera cursea 
upon her, the aolemnity of the acene 
enhanced hy the suatained trumpet 
tones in the accompaniment. The 
throng endeavor to mitigate the dying 
man'a anger, and Marfutrite bega for- 
giveneaa. but Vahnlint dies with the 




Krelin: 



n hia lipa. 



reproduced on 



r": 



Scene de L'Eglise (I) 

(Church Scene, Part I) 

By Cersldine Farrar. Soprano, and 
Marcel Journct. Baaa 
{InFrench) 89039 12-inch. M-OO 
We now come to the impreasive 

_ _ ii»in,uE«:rE AT THE sHiiiiB """^ almoal terrible acene oulaide the 

Margattilt, cursed by her dying brother, abandoned by all but the faithful Si^d, ia 
kneeling at a amall altar. Fearing to enter, and endeavoring to seek consolatian in prayer, 
ahe auppLcBlea Heaven to accept her repentance. 



Oh. Thau who on Thy Ihron 
Giv'sl an ear for ccpenlance 
Here, hefon Thy feci, let n 



collect how thou 



/hen Ihy feet did fall back, I 
s Ihough 1o ask For aid; 



Scene de L'Eglise (II) (Church Scene, Part II) 

By Geraldine Farrar. Soprano; Marcel Journei. Bate and 
Metropoliun Opera Chorua {In Fnnch) 89037 

The unhappy girl, beaide herKlf with terror, cries out wildly: 



VICTOR BOOK OF THE OPERA-GOUNOD'S FAUST 





^Hj 


V|| 




itt 


grf^i^gBH 






^ '-{'S^^^^^l 



Then ai the chorale i> heard 
from within the church, (he endeavors 
to break the encirclins Satanic apell 
and kneeU again in prayer. 

CiioiB (Wilkin lilt church): 



n Ihc book si 



Whal fr*i 






revealed. 



m pray. 1«t th«m « 
L> Seep, [oo deep, 



u 


bindeih"»«;d-r™r 


o" 


id Ihy guardians abo 
e DIM IS done) tfae 

■T"ourSn''Th"'"tbr 



aa these two artista render it. 
trophe of Mephhlophtla as he 

adequately deacribed. 



from the church, for 



Ju™ ... - 

Hives way, and with a terrible ccy ihe 

hlla lifdosa before the church. 

Words are pitiful thinga in de- 
scribing such a scene as this, given 
■oul of Margatrile, the taunting npoa- 
victim from praying, while the sombre 
n a musical picture which cannot he 



abaolutely eaaenbal part 

y it ii seldom performed. 

id the Prison Scene ; called 



Gounod placed bis ballet between the death of Valt 

it a Walpurgis Night, set it in a mountain fastness amid . .. 

classic q ueens. Helen, Phryne and Cleopalia, who danced to weird and distorted 
mdodies from the opera. 

Ballet Music (Part I — Valse, "Lea Nubiennes") 

By L'Orchestrc Symphonique. Paris 98019 12-inch. 11.00 

By Vessella'i Italian Bind +1T284 10-inch, .T9 

The first part, which in the opera ac- i i».-.--3«ii^ _^ ^ ~~:S 

companies the dance of the Nubian SUvea, ^f^ ^f iB^!:^S\^SP^S ^^^^^ ^ 

is a most striking portion, beginning with |P^ ^ y^****"' 

afterward repeated with bassoon obbKgato. 

Ballet Music No. 2— Adagio (Cleopatra and the Golden Cup) 

By L'Orchestre Symphoniquc. Paris 98018 12-inch. tl.OO 

The second part is the adagio movement accompanying the scene in which the 
Nubian Slaves drink from golden cups the poisons of Cleopatra, who herself moistens her 
lips from a vaae in which she has diasolved her most precious pearls. 

• D-lkJ'aaJRtanl-F„ia,«ftMio,m>l<Um.DOUBLEFACEDFAUSTRECORDS.pafl25. 
123 



VICTOR BOOK OF THE O P ER A — G O UN OD 'S FAUST 

Ballet Music Nos. 5 and 6 (Les Troyennes et Variation) 

By L^Orchestre Symphonique, Paris 58020 12-inch, $1.00 

By VeMcUa's Italian Band *17284 10-inch, .75 

These two parts are heard during the appearance of the goddess Phryne, who rises, a 
veiled apparition, and commands the dance to recommence. 

Ballet Music— Finale, ** Danse de Phryne "' 

By L*Orchestre Symphonique, Paris 58021 12-inch, $1.00 

The finale is brisk in movement, rising to a wild climax and ending suddenly with 
a crashing chord. It is a most effective and exciting bit of ballet composition, and accom- 
panies the dance of Phiyne, who surpasses all her rivals and wins the favor of Faust, arousing 
the anger and jealousy of the courtesans — Helen, Cleopaira, Aspasia and Laia — and the dance 
develops into a bacchanalian frenzy, graphically pictured in Gounod's music 

ACT V 
SCENE— rAe *Prhon Cell ofMargueHie 
The short final act of Faust is truly one of the grandest of operatic compositions, 
Goethe's story giving Gounod ample opportunity for some most dramatic writing. 
Marguerite's reason is gone — grief and remorse have driven her insane, and in a frenzy she 
has destroyed her child. Condemned to death, she lies in prison, into which Mephistopheles 
and Faust, defying bolts and bars, have entered. 

**Mon coeur est p^netre d'epouvante ! '' (My Heart is Tom) 

By Geraldine Farrar and Enrico Caruso (In French) 89033 12-inch, $4.00 

Gazing at the unhappy girl, who is sleep- w ^jQ*^ 
ing on a pallet of straw, Faust cries : 

and, as the full measure of his own guilt comes to him, continues : 

Faust: Marguerite (awaking): 

Oh, what anguish! She lies there at my feet Ah, do I hear once again, the song of time 

A young and lovely being, imprisoned here gone by — 

As if herself, not I, were guilty! 'Twas not the cry of the demons — 

No wonder that her fright has reason ta'en 'Tis his own voice I hear! 

away! 
Marguerite ! Marguerite ! 

She forgets all but that her loved one is before her, and sings in a transport of love 

Marguerite: Faust (supporting her tenderly): 
Ah ! I love thee only ! Yes, I love thee only ! 

Since thou cam'st to find me Let who will, now goad 

No tears more shall blind mel Or mock me, or upbraid. 

Take me up to Heaven, Elarth will grow as Heaven. 

To Heaven by thy aid! By thy beauty made! 

Attends 1 voici la rue (This is the Fair) 

By Geraldine Farrar and Enrico Caruso {In French) 89034 12-inch, $4.00 

Marguerite's mind wandering, she sings dreamily of the Fair, where first Faust appeared 

to her: 'Tis the Fair! 

Where I was seen by you, in happy clays 
gone by. 
The day your eye did not dare 
To meet my eye! 

Marguerite now rehearses the first meeting with Faust, his i^pectful greeting, and her 

modest and dignified reply : 

"High born and lovely maid, forgive my hum* Every flower is incense breathing, 




ble duty; And through the still evening air 

■fu 

»y - _ _ 

"No my lord! not a lady am I, nor yet a To every glowing -crimson, rose 



Let me your willing slave, attend you home A cloud of dew, ^ith pcruirac wreathing; 

to-day?" Hark! how tlu; ' aightingale above 



beauty. Fondly murmprs thy love* 

Not a lady, not a beauty, Faust (urging - her) : 

And do not need an arm to "help me on Yes! but come! T}i6y shall not harm thee! 

my way!" Come away! ^ " ' 

Faust (in despair): There is yet time to save thee! 

Come away! If thou lov'st me! Marguerite! Thou shalt not perish! 
Marguerite (dreamily, her thoughts in the Marguerite (listlessly) : 

fyast): Tis all loo late! Here let me die! 

How my garden is fresh and fair! Farewell! My memory live to cherish! 



* Doubk-Faud Reeord—For titk of ofipotOe Mlde $ee DOUBLE-FACED FA UST RECORDS, page 125. 

123 




The Redemption of Marfuerite 



VICTOR BOOK OF THE O P E R A— G O U N O D ' S FAUST 

The impaMioned duet then follows, Fausi endeavoring to persuade her to escape ; but 
the poor weak mind cannot grctfp the idea of safety. The duet is interrupted by the im- 
patient Mephisiopheles, whose brutal "Alette " begins the final trio. 

Trio— Alcrte ! ou vous etes perdus ! (Then Leave Her !) 

By Farrar, Caruso and Journet {In French) 95203 12-iiich, $5.00 

By Victor Opera Trio (In English) 60097 lO-inch, .75 

By Huffuet, Lara and de Luna {Douhk-faeed—See below) 62085 10-inch, .75 

Mephistophelean fearing the coming of the jailers, and uncertain of his own power, cries out : 

Then leave her, then leave her, or remain to What does he here! He who forbade me to 

your shame; pray! 

If it please you to stay, mine is no more the Mephistopheles {to Faust) : 

game! Let us go, ere with dawn 

Marguerite (in horror, recognising the Evil Doth justice come on; 

One, the cause of all her woes): Hark! the horses panting in the courtyard 

Who is there! Who is there' below, 

Dost thou see, there in the shadow; To bear us awav! 

Come, ere 'tis day! 

As he sings, the tramping and neighing of horses are heard in the accompaniment 

Marguerite (with fresh courage, defying him): 

Away, for 1 will pray! (in rahture) 

Holy Angels, in Heaven bless'd 

My spirit longs with thee to rest! 
Faust: Come, ere 'tis too late to save thee! 

The inspiring trio, perhaps the most thrilling and moving of all operatic compositions, 
then commences; Marguerite continuing her prayer, Faust urging her to follow him, while 
Mephistopheles, in desperation, repeats his warning to Faust. 

Mephistopheles: Marguerite: 

Let us leave her! Holy angels, in Heaven bless'd. 

Come away! the dawn is grey, My spirit longs with thee to rest! 

Come, ere they claim thee! Great Heaven, pardon grant, I implore thee, 

Faust: For soon shall 1 appear before thee! 

Lean on ray breast. (She dies.) 
O come! I m here to save thee! 

At the close of the trio, Mephistopheles is about to triumph over the soul of his victim, 
vrhen a company of angels appear and announce that Marguerite is saved. The Evil One, 
dragging Faust with him, disappears in a fiery abyss. 



DOUBLE-FACED AND MISCELLANEOUS FAUST RECORDS 

Gems from Faust 

" Kermesse WaJtz " — " Flower Sons " — *' Jewel Song " — " Garden Scene " — " Prison 

Scene" — " Soldiers* Ckorua " « •• r. ^^ r^ ».«-^ -^ . « ^- ^^ 

By Victor Opera Co. 31879 12-inch, $1.00 

Selection from Faust By 9ousa*s Band 31104 12-inch 1.00 

? election from Faust By Victor Bandl^-^-, -^ . ^i. - ^- 

Crown Dianwnds Ooerture By Victor Barnir^^^^ 12-inch, 1.25 

lo^rer Sonff By Corinne Mor^fan (In English)\^^^^^ .^ . ^* . ^- 

Drink To Me Only With Thine Eyes By Harry Macdonough]^^^^^ 12-inch, 1.25 

JAria dei fftoielli (Jewel Son^f) By Huffuet (In Italian)\^g.. ^^^^ -^ . ^* , ^- 

ILa Kermesse (Kcrmesse Scene) By La Scala Chorus (In ltalian)r^^^^ 12-mch, 1.25 

/Dio possente By Francesco Ciffada (In Italian)\,f.^^^ ii :«^u i ^vc 

1 FarH>nta^Quando le soglie By MileH and Minolfi (In Italian) r^^^^ 12-incIi, 1.25 

jAlerte! ou vous 2tes perdusi Huffuet, Lara and De Lunal^^^i^,. t/\ -^ u t< 

\Le parlate d'amor (Flower Sontf) By Emma Zaccariar^"**^ lO-mch, .75 

/Deponiam il brando (Soldiers* Chorus) By La Scala Cho\^^2A24 10-inch 75 

\ DonPasquale — Sogno soaoe e casto ByAcerhi, Tenor (In Italian)) " ' 

flo vofflio il piacer By Pini-Corsi and Sillich (^^ ^'fl^'<w')l^3i74 lO-inch 75 

\ Forza del Destino—Solenne in quest * ora Colazza and Caronna] ~ * 

j Soldiers* Chorus Pryor's Band\,^-^^ in ;««k t* 

1 DeviVs March (von Suppe) Pryor's Band^^^^^ 10-inch, .75 

(Waltz from Kermesse Scene Pryor's Bandl ,^--2 lO-inch 75 

I In Happy Moments {from Mart tana) Jllan Turner] " ' 

I Ballet Music **Dance of Nubian Slaves*' Vessella's Band] 

Ballet Music ("Dance of the Trojan Maidens" and "Mirror [l7284 10-inch, .75 
Dance ' *) By Vessella 's Italian Band] 



125 



(German) (Italian) 

DIE FAVORITIN LA FAVORITA 

(Dee Fah-oe-mf-Hn) (Lah Fah^h-n^-iah) 

(English) 

THE FAVORITE 

OPERA IN FOUR ACTS 

Text by Alphonse Royer and Gustave Waez, adapted from a drama of Baculard- 
Damaud, " Le Comte de Comminges.** Music by Gaetano Donizetti. In its present form it 
wctf first produced at the AcaJimie, Paris, December 2, 1640. First London production Feb- 
ruary 16, 1847. Produced in America July 29, 1853. 



Cast 

ALPHONSO XI King of Castile Baritone 

Ferdinand, a young novice of the Convent of St James of Compostella, 

afterwards an officer Tenor 

Don CASPAR, the King s Minister Tenor 

Balthazar, Superior of the Convent of St James Bass 

Leonora D1 GUSMANN, the King's favorite Soprano 

Inez, her confidante Soprano 

Courtiers, Guards, Monks, Attendants, etc 
Scene and Period: The action is supposed to take place in Castile, about the year 1340. 

Favorita so abounds with charming airs, fine music and striking dramatic situations that 
it is difficult to account for the neglect of it in America. The opera was revived, it is true, 
in 1905. with Caruso, Walker, Scotti and Plan^on, but has not since been given. 

However, for the consolation of those who admire Donizetti's beautiful work, the Victor 
has collected all the best airs and several of the stirring concerted numbers, so that the 
opera, given by famous artists, may be enjoyed in the comfort and seclusion of the home. 

ACT I 

SCENE— TAe Monastety of St, James 

The rise of the curtain discloses a Spanish cloister with its secluded garden and weather- 
stained wall, while in the distance is a glimpse of the tiled roofo of the city. Ferdinand, a 
novice in the monastery, confesses to the Prior, Balthazar, that he has seen a beautiful 
woman and has fallen in love with her. He describes his meeting with the fair one in a 
lovely song, Una' vergine. 

Una vergine (Like An Angel) 

By Florencio Constantino, Tenor {In Italian) 64090 10-inch, $1.00 

The good Prior is horrified and urges him to confess and repent. 

Non sai tu che d*un giusto (Kno^w^st Thou) 

By Gino Martinez- Patti, Tenor, and Cesare Preve, Bass 

{Double-faced—See page 130) {In Italian) 62635 10-inch, $0.75 

Balthazak: 

Ah, my son, my life's latest solace, Ferdinand (in rapture): 

May thy innocence rescue thee still! Yes, ador*d one! this heart's dearest idol! 

Thou, thou who shouldst be my successor, For thee I will break ev'ry tie! 

And all my solemn duties fill. To thee all my soul I surrender — 

Ferdinand: At thy dear feet content to die! 

Ah, father, I love her! Forgive me! Father, I go! 

Balthazar: Balthazar: 

This woman, wretched one! oh. knowest thou Hence, audacious! away in madness! 

Who has lur'd thee thus to shame? I'll not curse thee! no--depart! 

Knowest thou her, for whom thy holiest vow If Heaven spare thee, soon in sadness. 

Is forfeit? Her rank — her name? Thou'lt hither bring a broken heart! 

Ferdinand: Ferdinand: 

I know her not; but I love her! Ah, dear Idol! this heart so enchaining, 

Balthazar: In vain thy spell I strive to break! 

Begone! too profane! Fly these cloisters To thee only my truth maintaining, 

Far, far from hence! — avoid my sight My cloister I forsake! 

126 



VICTOR BOOK OF THE OPERA — LA FAVORITA 




The Priors pleading fails to restore Ferdinand to his duty, 
and he leaves the convent to search for the beautiful unknown. 
As he goes he turns and stretches out his arms toward 
Balthazar, who averts his head. 

The scene changes to the bland of Leon, where Inez, 
an attendant of Leonora, and a chorus of maidens are gather- 
ing flowers. They sing a melodious chorus. 



copr*T oupoar 



i raggi lucenti (Ye Beams of Gold) 

By Ida Roselli, Soprano, and La Scala 

Chorus (In Italian) *62635 lO-inch, $0.75 
which tells of the love which their mistress feels for a hand- 
some youth vrhom she has seen but once, and vrho is now 
on his way to the Ule at Leonoras request. 

Ferdinand, who, shordy after his departure from the 
monctftery, had received a note bidding him come to the 
Isle of Leon, now arrives in a boat, blindfolded, is assisted 
to land by the maidens, and the bandage removed. He 
gazes around him wonderingly, and ctfks Inez the name of 
the unknown lady who has sent for him. She smilingly 
refuses, and tells him only her mistress may reveal the secret. 
Leonora now appears, and the maidens depart A tender love 
scene follows, but the Favorite is anxious, fearing that Ferdi- 
nand will learn that she is the King's mistress. She shows 
him a parchment which she says will insure his future, and 
then bids him leave her forever. 



CARUSO AS FERDINAND 



Fia vero ! lasciarti ! (Fly From Thee!) 

By Clotilde Esposito and Sitf. Martinez-Patti 'i'68309 12-inch, $1.25 
Ferdinand, beginning the duet, indignantly refuses, saying : 



Ferdinand: 

Fly from thee! Oh, never! 

*Twere madness to try 

From thee to sever; 

'Twere better to die! 
Leonora: 

Farewell! Go; forget me I 



Thy vows and thy love! 
No longer regret me — 
Mine image remove. 
The rose tho' she fair be, 
A canker that wears. 
Can never restor'd be 
By anguish or tears! 



Inez enters and whispers to Leonora that the King has arrived at the villa. Leonora gives 
Ferdinand the parchment and bids him again to depart, then exits hastily. Ferdinand reads 
it and is delighted to find that it is a captain's commission, and declares that he will win 
great honors to lay at the feet of his love. 

ACT II ^ 

SCENE — Gardens of the Alcazar Palace 

The King enters and admires the beauty of the palace, which he has just acquired from 
the Moors by the victory of his army, led by the young captain, Ferdinand, A message comes 
from Balthazar, the King's father-in-law, who is at the head of the powerful Church party, 
and Alfonso is threatened with the wrath of the Church if he does not give up Leonora, In a 
fine air he declares he will not submit. 

Vien Leonora (Leonora, Thou Alone) 

By Francesco Citfada. Baritone {In Italian) 'i'68061 12-inch, $1 JK5 

Leonora enters and the King tenderly asks the cause of her melancholy. She tells him 
her position is intolerable, and asks that she be allowed to leave the Court. She begins 
the duet, Qjuando le soglle. 

Quando le soglie (From My Father^ s Halls) 

By Una MUeri and Renzo Minolfi {In Italian) *68275 12-ineh, $1^5 

Ah ! Talto ardor (Oh, Love !) 

By Marffarete Matzenauer and Pasquale Amato 89062 12-inch, $4.00 

Leonora recalls the circumstances connected with her departure from her father's home. 

*DoMeJ^aeed Record— For Utie o/oppo$ile $iJe $ee DOUBLE-FACED LA FA VORITA RECORDS, page 130. 

127 



BOOK OF THE OPE 



lA — LA FAVORITA 




Wh 

A p. 


ior limpl 


y fath 


r's hilla you 
n. belr>y*d. 


bo 

de. 


"■Y^d; 


Ala' 


'. wilhin 




'^"Jor-n^f" 


f 


laited 


Would be Iho 








tS.^o 


wilh rtm 


prte) : 


No morei 








t and al 




unned by Ih 




arid. 


Liv 


I in the 


d»'rk: 




Ol 


the K 


\'.i 


Iv .liner 


Iheje 


ewcls. 






Vainly bloom 


Ifaese 


floweri arou 


nd 




The 


lip may 


mile, b 


u( (he heart i* 


iree'pini 



loft loTBt her bowm fillini, 
: response each fibre thrilling. 

de): 

lias' this boiom fillinE. 

t woe each fibre thrillingi 



My will i, 



This lady I 






Ballhazar then begin* the finale, one of the moat imprenive of the conceited numbers. 

Ah! paventa il furor (The ^'rath of Heaven) 

By Amelia Co<lolint, Fraacttco Ciffsda. Arittodemo Sillich and La Seal* Chorui 
(In llaltan) *16936 lO-inch, 10.79 
Balthaiib: King: 

Da nol call Ihe wralh of God, Still Ibis sudden tempest 

Avenging upon Ihee: Shall nol bend me nor break me; 

For il visileth terribly Calm Ihee. my Leonora, 

Those who do not how to His will. tlrlgbt a thy destiny. 

Leonou «no CHoaus: Balthaiai Idinoxnciag LtonoTa"): • 

1 tremble with fear All ye that hear me 

In my inmost heart. Shun the adultreu: 

Lest this terrible blow Aceurs'd of Heaven is she! 

Should crush my fondest hopes. 

The curtain MU on b diamatic tableau. — Ltonora weeping with ahame. the King hesita- 
ting between love and ambition, while the letribie BaUhaxar thundera the papal curae down 
upon the guilty pair. 

SCENE— ^ Room In iht Palace 
FtrdlnanJ, who ha* Won diatinclion in the wars, is received by the King, who aaka him 
to name his own reward. The young captain ask* for the hand of a noble lady to whom 
he owes all hia renown, and when the King aalu her name he point* to Leonora. Alfeiao 
gazes at her coldly and sternly and sings his ironical air. 

A tanto amor (Thou Flo'w'r Beloved) 

By Mario Ancooa, Baritone {In Ilalien) 86063 12-iDch, tS.OO 

By Mattia Bittistini. Baritone (In llallan) 92045 12-iach. S.OO 

By Francesco Cigadi. Baritone (In llallan) *I6936 10-inch. .79 



refresh 'd. 



Thin I 



Thou Aow'r belov'd. 
And in hope's garder 
With sighs and tears 

*DaiMtJ'taJ RmiJ—Ftr nik «foepo1ic ilJt h DOUBLE-FACED LA FA VOIUTA RECORDS. ». 



n thy .1 



e have 



a Ihor 



VICTOR BOOK OF THE OPERA — LA FAVORITA 



He consents to the marriage, however, and announcing that they must prepare to vred in 
an hour, goes out with Ferdinand, Leonora^ left alone, decides to sacrifice her own feeling 
and renounce Ferdinand, She gives expression to her mingled joy and despair in a noble air : 



O mio Fernando (Oh« My Ferdinand) 

By Margarete Matxenauer, Mezzo-Soprano {In Italian) 88363 12-uich, $3.00 

Lbonora: 

Oh, my Ferdinand, were mine this earth's 
whole treasure 



Mine, too, each star of yon blue heav'n: 

To purchase thee one pleasure. 

All, all at once b^ this fond hand were giv*n! 

All should be thine, save my poor name de- 
graded ; 

And thine should be, too, my life's latest sigh! 

Ah! But ere I give to thee a name thus 
clouded. 



And thou deceive, I'll die! 
Oh, Death! Where art thou? 
I call thee! I await thee! 
Approach! lead to the tomb. 
O er this brow pale cypress twine, 
Roses are too bright and glowing — 
O'er this face a dark veil throwing; 
Tears, for smiles, be sadlv flowing — 
Deck with sable plumes the shrine: 
Yes, I'll die, my shame avowing, 
Ere, despis'd, I will be thine! 



Her resolution is no sooner taken, however, than she resolves to tell him all and throw 
herself on his mercy. 

She calls Inez, and bidding her seek out Ferdinand and reveal all, goes to her apartments 
to prepare for the wedding. Inez prepares to obey, but on her way is arrested by the 
order of the King. 

The King enters with Ferdinand, to whom he gives the tide of Count of Zamora. Leonora 
appears and is overjoyed to see Ferdinand still looking at her lovingly, not knowing that Inez 
has failed in her mission, and that he is yet ignorant of her secret 

The ceremony is performed and the pair are presented to the Court; but are met widi 
cold and averted looks. Ferdinand, although not aware of the cause, resents this and is about 
to draw his sword when Balthazar enters and demands peace. 

When he learns of the vredding he is horrified, and tells Ferdinand he has married the 
King's mistress. Ferdinand is furious and denounces the King, who, seized with sudden 
remorse, begins the great finale to Act III. 

Orsu, Fernando (Stayl Hear Me, Ferdinand !) 

By Maria Cappiello, Mezzo-Soprano: Giuseppe Acerbi, Tenor; 

Francesco Cifpada, Baritone (In Italian) '^'62659 10-inch, 10.75 

Ferdinand hurls at the King's feet his badge of honor and his broken sword and leaves 
the Court, follovred by Balthazar. Leonora faints as the curtain falls. 

ACT IV 

SCENE — The Cloisters of the Monastery 

The opening number in this act is the impressive Splertdon piu belle, considered by many 
critics to be the finest of the Favorita numbers. The scene rraresents the cloister at the 
Convent of St. lames of Compostella, illumined by the rays of the rising sun. The monks 
have assembled to welcome back the prodigal Ferdinand, who, heartbroken at the falseness 
of Leonora, is returning to renew his vows. The ceremonies are conducted by Balthazar, who 
begins this great number. 

Splendon piu belle in ciel le stelle (In Heavenly Splendor) 

By Marcel Jour net and Metropolitan Chorus 74273 12-in., $1.50 

By Torres de Luna,Bas8, and LaScala Chorus (Inltalian) *68061 12-in.« 1JK5 
By PereUodeSetfurola, Bass, and La Scala Chorus (Italian) *16551 10-in.« .75 

Balthazm entreats him to lift his eyes from earthly things and contemplate the stars, 
which typify a forgiving Heaven. 

The monks now go into the chapel to prepare for the final rites, and Ferdinand, left alone, 
casts a look behind him to the world he has left forever, and sings his lovely Spirio gentiL 

Spirto gentil (Spirit So Fair) 

By Enrico Caruso, Tenor 
By Gcnnaro de Tura, Tenor 
By Evan Williams, Tenor 



(In Italian) 88004 12-inch. $3.00 

(Inltalian) 76012 12-inch, 2.00 

(In English) 74141 12-inch, 1.50 



*£)99Nt-FaceJ Record— For Wk ^fappQfik ^4t 9ee DOUBLE J^ACED LA FA VORJTA RECORDS, pagt 130. 

129 



VICTOR BOOK OF THE OPERA — LA FAVORITA 



Fexdinand: 

Spirit so fair, brightiv descending, 
Tnen like a dream all sadly ending, 
Hence from my heart, vision deceiving. 
Phantom of love, grief only leaving. 



In thee delighting, all else scorning, 

A father's warning, my country, my fame I 

Ah, faithless dame, a passion inviting. 
Fair honor blighting, branding my name. 

Grief alone thou leav st, phantom of love ! 



The monka now lead Ferdinand to the chapel. Leonora, who has come hither disguiBecl 
as a novice to entreat forgiveness of her lover, hears him take the final vows and despair- 
ingly falls at the altar. FerdirMnd comes from the chapel, and seeing a poor novice, assists 
him to rise. He is at first horrified to recognize Leonora^ and bids her begone, but she 
pleads for mercy. 



Leonora: 

Ah, heavcniike, thy mercy showing. 
Turn not thy heart away from me! 

Ferdinand (/iij love returning)'. 

From tears thy words persuasion borrow. 

Like a spell their softness impart. 

Those sighs, the hope of some bright morrow 



Waken once more in my heart! 

{Impetuously.) 

I love thee! 

Come, ah, come, 'tis vain restraining 

Passion's torrent onward that dashes, 

O'er my bosom still art thou reifrning 

And we together will live and die! 



Pietoso al par d^un Nume (As Merciful as God) 

By Clotilde Esposito, Soprano, and Martinez-Patti, Tenor 

(Doubk^/aeed—See behm) (In Italian) 62659 10-inch. $0.75 

Again gendy reminding him of his vows, she falls from weakness and privation. 

Leonora: Leonora (feebly): 

No, nol *Tis Heaven calls thee! Ileav'n forgive me, now I'm dying, 

Ferdinand (recklessly) : Ferdinand, I am happy. 

Yet more power hath love; We shall hereafter meet no more to be parted, 

Come, could I possess thee Farewell, now, farewell ! 

There's naught I would not brave, (She dies.) 
Aye, here and hereafter! 

(Curtain) 



DOUBLE-FACED AND MISCELLANEOUS FAVORITA RECORDS 



{Quando le sotflie (From My Father** Halls) By Lina 
Mileri, Contralto, and Renzo Minolfi, Baritone (Italian) 
Fattat — Dio pouente (Gounod) By Francetco Qgada (Jn Italiart) 

Fia verollasciartil (Fly From Thee I) Clotilde Esposito, 
Soprano, and Si^. Martinez-Patti, Tenor (In Italian) 
Norma — In mia mano alfin tu ael GiacomelU and MartineX'PatU 

[Vien Leonora (Leonora, Thou Alone) By Francesco 

Cicada, Baritone (In ItaUan) 

Splendon piu belle in ciel (In Heavenly Splendor) By 

I Torres de Luna, Bass, and La Scala Chorus (In Italian) 

A tanto amor (FlowV Beloved) By Cicada (In Italian)] 

Ah I paventa il furore (The Wrath of Heaven) By [ 1 6536 

Codolini, Cicada and Sillich (In Italian) J 

Non sai tu che d*un ^iusto (Know^st Thou) By Gino 
Martinez-Patti, Tenor, and Cesare Preve, Bass (Italian) 

Bei nggi lucenti (Ye Beams of Gold) By Ida Roselli, 
Soprano, and La Scala Chorus (In Italian) 

Orsu, Fernando (Stay I Hear Me, Fernando !) By Maria 

Cappiello, Mezzo-Soprano ; Giuseppe Acerbi, Tenor ; 
Francesco Cicada. Baritone (In Italian) 

Pietoso al par d*un Nume (As Merciful as God) By 

Clotilde Esposito, Soprano, and Gino Martinez-Patti, 
Tenor (In Italian) 

Splendon piu belle in ciel le stelle (In Heavenly Splendor) 

By Perello de Setfurola, Bass, and Chorus (In Italian) 

Manon — Ei Je sais votre nam (If I Knew But Your Name) 

By Mile, Ksraofft Soprano, and Leon Beyle, Terwr (In French) 



68275 12-inch, $1.25 



68309 12-inch. 1.25 



68061 12-inch, 1.25 



10-inch, .75 



62635 10-inch. .75 



^2659 10-inch, .75 



16551 lO-inch. .75 



130 




FIDELIO 

or. CONJUGAL LOVE 
GRAND OPERA IN TWO ACTS 

Vordi adaptei] by Joseph Sonnleithner from Bouilly'a Liaaere, oa I'Amaar Con/agal 
(Leonora, or Conjugal Love). Music by Ludwig von Beethoven. First produced at the 
Thcatn an Jet Weln. Vienna. November 20. 1805. in three act., the caat inchlding Weblkoff, 
Meier, Demmer. Milder and Rothe. A revised venion was given in 1806 and a third 
production in 1814. FVoduced in London, at the King's Theatre. May 18, 1832. In English 
nt Covent Garden. June 12. 1635. In Italian at Her Majesty's. May 20. 1S51. En Paris at 
die Theatre Lyrique, translated by Barbier and Csn^ and in three acta. May 5. 1860. 
First American performance in New York, September 9. 1839. with Giubilei, Manven and 
Poole. Other notable productions were in 1837, with Johannsen, Weinlich and Oehtlein ; in 
1838. with Mme. Caradori and Karl Formes; in 1668. with Mme. Rotter. Habelmann and 
Formes: the Damrosch production of 1864, with Mme. Brandt. Mile. Belxand HerrKoegel; 
and in 1901, with Temina as Ltonon. 



Characters 

DC»I Fernando. Minister Baritone 

Don PIZARRO, Governor of the Stale Prison Baritone 

FlURESTAN, a prisoner Tenor 

LfoNC«E, his wife, known as Fidelio Soprano 

ROCCO. jailor Bess 

MARZELUNE. his daughter Soprano 

JAQUINO, gatekeeper Tenor 

CAPTAIN OF THE GUARD Bass 

Lieutenant Bas* 

Soldiers. Prisoners. People, etc. 

Ptacc : A Spanlih Slalt prjwn in /Ae ttldntt!/ of StvilU. 
131 



VICTOR BOOK OF THE OPERA— BEETHOVEN'S FIDELIO 




Fidtlio miut ever he regarded with great inlerot aa being ike only opera written by one 
of the gieateal compoaera. Originally given a* Fidtllo, it was rewritten and condensed into 
two acts by Breuning, atill a third revision being made in 1814 by Tieitschke. At the time 
of the second production in 1606 the title was changed to Ltonort, Beethoven writing a new 
overture, now known as LtononNo. 3, A portion of this splendid number has been played 
here by Piyor's Band, while the complete overture is given in three parts by the Victor 
Concert Orchestra. 

Leonore Overture tio. 3 

By Victor Concert Orchestra 

(Paritlamill) 39268 12-inch. tl.2» 

(By Victor Concert 1 

Orchestra (PaH III) \, 
Adaghfrom Fourth Sjpnphor^ 
{BetAoooi) k'eudlti't Italian B) 
The action of the opera occurs in a fortress near Seville. 
Dan Florealan, a Spanish nobleman, has been impriaoned here for 
life, and to make his fate certain his mortal enemy, jDon Pizam, 
Governor of the prison, has announced his death, meanwhile 
putting the unfortunate man in the lowest dungeon, where he ia 
expected to die by gradual starvation, thus rendering tmnecessary 
a resort to violent means, 
the best numbers in the opera ia this fine air in D minor, which has been 
Victor by Mr. Coriti, 

Ha, welch ein Au^enblick (Fateful Moment) 

By Otto GoritE. Baritone (In German) 6416S lO-inch. *1.00 




'}39269 12-inch. IJZS 



VICTOR BOOK OP THfi Ot>fiRA— BEETHOVEK'S FIdELIO 



iiT'tlif /ust"' 



shall be uled. 



In tor 
The V 



s ihou 



^^-^^ 


3i. •..itr.l. 


g iii. N f. 


&sfe.. 




-^'ZZ^Z'^"' 



An extremetr pleasant and agreealile peraoo thu 
SpaniihCovemor muM have been I Goritz. whoae PtcimD 
it one □( hi* greatest imperaonations, aing* thu itriking 
air in a highly effective manner, (airly exuding the spirit 
o( revenge. 

Don Flerealan, Kowever, has a devoted wife who re- 
(uaea to believe the report of his death. IJisguising 
herself as ■ servant, and assuming the name of Fidtllo, 
•be secures employment with Rocco, the head jailor. 
RMXo't daughter falls !n love with the supposed hand- 
some youtK snd he is soon in such high favor that he is ohoinal proosau op pioiiio — 
permitted to accompany /Wco on his visits to the prisoner. viinma 

Hearing that the Minister of the Interior is coming to the prison to investigate the sup- 
posed death of Flartslan, the Governor decides la murder him, and asks Kocco's help. Fiddio 
overheara the conversation and gets Roeto to allow her to dig the grave. Just as Don F^aiim 
is about to striLe the fatal blow, FiddIo rushes forward, proclaims herself the wife of the 
prisoner and shields him. The Governor is astonished for a moment, but recovers himself 
and is about to sacrifice both, when a dourish of trumpets armounces the coming of the 
Minister, and Don Pfzana a soon disgraced, while Floratan is pardoned and given back to 
his faithful wife. 





4 ^H 




DER FUEGENDE HOLLANDER 

(OcAr FU-tcn-Jik HotJan-Ja) 
(Badiah) 

FLYING DUTCHMAN 



n Vascello Fantasma 

A ROMANTIC OPERA IN THREE ACT8 
Teit and score by Rickaid Wagner. First 
produced at the Royal Opera in Dresden, Januaiy 
2. 1843. with a Pahs production the followine 
year under the title of Lt Valueaa Fanldmc Flret 
London production July 23, 1870; and in EdbIhK 
by Carl Kosa in 1676; firu New York production, 
in Ensliik, January 2J&, 1677; in German, March 
12, 1877. 

C*n 

DALAND, a Norwegian sea captain Baw 

SENTA. hii daughter Soprano 

Eric a hunttman Tenor 

MARY.Senta'a nurM Contralto 

Daland's Steersman Tenor 

The Dutchman Baritone 

Sailora, Maidens, Hunters, etc. 




Plao 



On lilt axul of Noneay 



VICTOR BOOK OF THE OPERA — FLYING DUTCHMAN 
THE STORY 



critici after iu production. It* present vogue ia a notable example of the change in muaical 
taite since 1643. 

Wagner was led to write the Fining Dutchman after reading Heine'a legend of the 
unhappy mariner, who, after trying long in vain to paaa the Cape of Good Hope, had 
■worn that he would not delist if he had to sail on the ocean to eternity. To punish hia 
blasphemy he ia condemned to the fate of the Wandering Jew, hia only hope of aalvalion 
lying in his release through the devotion unto death of a woman; and to find such a 
maiden he ia allowed every aereD yean to go on ahore. 

Flying Dutchmaa Overture 

By Pryor's Bind 31T87 12-inch. *1.00 

Tlie overture is a complete miniature drama, em' 

bodying the eventa of the opera to follow. Driven by 

the gale, the Phantom Ship approaches the shore, while 

amid the fuiy of the tempest is heard the theme of Tht 



m 



^V rS- » 



J. J .U, 









The atorm increases and rcBchea its height in a won- 
derful piece of writing. No composer ever succeeded 
in portraying a raging storm with auch vivid effect. 
Amid a lull in the tempest, we hear the melancholy ^• 

complaint of the Dutchman from the great air in the first cast or the opeha im 
act, "Wie eft . . . Mdn Grab, a jcW™ itch ntchlf" MAKDWSiriNc 

(his/ graec—l find it not I) A gleam of hope appears in the Redemption theme, ai 
strain ia heard from the aaitora of DalanJ'i ship, which ia aafe in the harbor. 

Thus the various events of the drama are presented in miniature: and the 
in (act a complete riiami ai the opera, aummaiizing the leading moHfi. It i 
played fay Mr. Pry or' a fine organization. 




Th, 



ACT! 
SCENE— TAe Coaat of Noraay 
ahowing a rocky i 



- lecunainnaesahowuigarocky sea cobs' 
1 Norway, with the ship of Dalamf anchored 
near the shore. Aa the crew furl the aails, 
Dnfnni/ goes ashore, and climbing the cliff, sees 
that he is only seven miles from home, but as 
he must wait for a change in the wind, bids 
the crew go below and rest. 

The Slcertmott remains on watch, and to 
keep awake sings a sailor ballad : 

StEEI 



E I neii 



Throuih thuoiiei 
My maiden. « 

Ovtr towermg » 
Mr maiden an 

My maidtn. wen 
i never could . 

O fair south wii 



My maiden, piaise Iht sweet south y 
1 brinf thee a golden rinn. 

O fair south wind, to me be kind; 
Mr maiden doth spin and nini. 
Ho-yo-ha'. Hallo-ho! 



VICTOR BOOK OF THE OPERA — FLYING DUTCHMAN 



Wte oft in Meerea tiefsten Schlund (In Oceania Deepest "Wave) 

By Otto GoTttz. Bmritooc (In Ctman) 74290 ll-incli, *1.90 

The ipectnJ crew furl the blood-red • 
■Uinds on the deck, uid deliven hia great 
aiagt hi* preliminary recitative: 

Icrm is pasl. and once again are ended ihe seven ton 
wean- hs casis me upon Ihe land 

llk^lhifetnd'ihQi. again wilt bear me! 

igh Ihou an ehangelul, unchanging is my doom! 

aK. which on the land 1 seek for, 

:r shall I meel with! 

f thylateii billow eba'll break. 

I at last Ihou art no more! 

An introduclioii in 6-6 allegro mollo leads to the i 

UUTCHWAW: 

Engulf d in ocean's d<;cpes< wave, 
Ofl have 1 long'd to tind a grave; 
But ah! > grave, I found il ngt! 
] oft have blindly rushed along, 
To find my death sharp rock; among; 
But ah! my death. I found il not. 
And ofl. the pirate boldly daring, 
Mv death l-ve courted from the sword. 
I, work thy deeds unsparing. 




My ship w 



gold is richly uor'd! 






DalanJ come, on deck 
and ia aatoniahed to see the 
strange ahip. He wake* the 
Steermaa and they hail the 
stranger, vvho aaks Daland to 
give him aheller in hia home, 
offering him treasure from his 
•hip. On hearing that Daland 
has B daughter he proposes 
marriage. The simple Nor- 
wegian is da^ed by such an 
honor from a man appaiently 
•o wealthy, and freely con- 
aents, providing his daughter 
ia pleased with the stranger. 

The wind changes and 
Daland soils for his home, the 
Dalchman promising to follow 




Trafc ihr da« Schiff (Senta's Ballad) 

By Johanna Gadski. Soprano (InGaman) 8B116 l2-ineh, *3.O0 



VICTOR BOOK OF THE OPERA — FLYING DUTCHMAN 



The maideni are buiily ipinniDg — iJl but 5en((i, Do/oni/'t daughter, who ■■ idly dreaming, 
with her eye* fixed on the fanciful portrait of the Flying Dutchman which hangs on the walL 

The legend of the unhappy Hollandtr ha* made a itrong impreuion on the young girl, 
and he aeema almoit a reality to her. The maideiu ridicule her. sajring that her lover, 
Eric, will be jealou* of the Dutchman, Saila rouie* heraelf and commences the ballad, 
which begins with the motive of The Caitt, With growing enthusiasm she goes On, 
describing the unhappy lot of the man jh^j»mi« ^r^ 

condemned to sail forever on the sea un- j j /f fr p " ". 1. j.^" y . / y f^ J f g (r B TF ■ | 



less redeemed by the love of 
Then 



the sea un- Y Jf f^ 

if a woman, " y^ ' 



^^ 



This is the theme of Redanpllon by Woman') Loot, and 
as Satla sings the beautifully tender and melodious phrB<ie. 
•he runs toward the portrait with outstretched arms, hardly 
conscious of the now alarmed maidens. 

yo-ho-hoe ! Yo-ho-hoe ! Yo;ho-hoe ! Yo-ho-h« •. 

B*^(J^Kd ftae canvas, black' Ihl mafl> 
On boarr- '- ■■ -■— '- — 



Haw roar 
Mow bend 



'.J^'l. 



! Yo-hohoi 
Vo-ho-bM 



Who'll pledge 



the unhappy it 



V find h 




t him this bnon! 

Mme. Csdslti. whose Senia is always a fine ii 
tion, sings this dramatic number most expressively. The 
difficult attack on the high G. which occurs several times, 
is beautifully taken and perfectly recorded. -»..=». -= ....... 

The maidens are so alarmed at Senta't outburst of passion that they run out and call 
Erie, who meet* them at the door with news of the Dulckman 't arrival. They run to the 
shore while Eric remains and reproaches Stnla. She refuses to listen and the distracted 

Suddenly the door open* and the Dalchman appears. 
Stnla is transfixed with surprise as she involuntarily com- 

Eares the portrait with the living man. A long silence fol- 
iws. The Dutchman, his eyes fixed on the glowing face 
of the maiden, advances toward her. Daland soon observes 
that the others pay no attention to him, and well satisfied 
with the apparent understanding between the stranger and 
his daughter, leaves them together. 

The Hollander sees in SenIa the angel of whom he had 
dreamed and who is to banish the curse, and she sees the 
original of the portrait on which the sympathy of her 
girlish and romantic heart had been lavished. The Hoi- 
lander aska 5enfa if she agrees with her father's choice of a 
husband. She gladly consents, and a long love duet follows, 
the final theme of which is " faith above all." 

Wie aus der Feme (Like a Vision) 

By Otto GofitE, Baritone {In German) 

14322 12-inch. *1.50 
I Versank ich jetzt (Do I Dream 7) 

< By JobsnnsGidski. Soprano, and Otto Goritz. 

DEiiiHH A> sENrA BoTitonc {In German) 883Z0 12-iach, *3.00 

Wohl konn* ich "Weibes (Woman's Holy Duties) 

By JohaanaGsdski.Soprano.OttoGoritz.Baritone (Cerman) 88371 12-inch, *3.00 




VICTOR BOOK OF THE OPERA— FLYING DUTCHMAN 




At the ctoae o( the duet. The Datehman 
and Scnta rejoice at hi* deliverance from the 

■peU: 
The Flv.nc Dutchuan: 

A healing balm far ill my mitows 

■Twas surtly wrought b( pow'r of magic 

Tm Flv.nc°11utc'hma»7 "' , 

Hear Ihia. ye mighty* 
Your powcf U now Uid [owl 
Sekta: 

II. r. r... , homr at last be granted, 
rest, from danger free! 



Here 
What 
What 



1 the I 



at high Thou haal raised me. 

Cram me Thy strength, thai I be truel 
DalanJ re'Cnlen and is delighted to find 
■uch a complete undentandins between the 
two. He invites the Dutchman to the ittc that 
evening in celebration of the safe arrival of the 
Norwegian ship. Stnia repeati her vow unto 
death, and a magnificent trio cli>ses the act. 

ACT III 

SCENE— i><>/anJ'j Hatbet 
This scene shows the ship* anchored in 
the bay near DalanJ'i home. DalanJ'i veasel 
is gay with lanterns, in contrast to the gloom and silence which marks the Dalchmen't ship. 
A gay Norwegian choirs ia followed by a spirited hornpipe with a most peculiar rhythm. 
Bits t>f these numbers are to be heard in the Pryor's Band records of the Overture and Fantasia. 

Tile maidens now appear with baskets of eatables, and are joyfully ret:eived by the 
sailors. I-Iaving supplied the wants of their own countrymen, they approaiih the Dalchmait't 
ship anil call to the sailors, but only a ghostly silence rewards them. Piqued at this neglect, 
they turn their remaining baskets over to the Norwegian sailors and return home. 

Suddenly the sea around the Dulckmon begins to rise, and a weird glow lights the ship. 
The crew appear and begin a sepulchral chant, which causes the gay Norwegians lo cease 
singing and cross themselves in teiror, and finally to go below. With mocking laughter, the 
crew of the Dulchman also disappear and the ship is in darkness. 

Senia and Eric appear luid a stormy scene ensues. He has heard of her engagement to 
the strange captain, and ia be- 
side himself. He kneels and 
begs her to have pity on him. 
Suddenly the Hollander comes 
upon the scene and is horroT' 
stricken at the tableau. Be- 
lieving Senfo to be false,he cries, 
"All is lost; Stnttt. farewell!" 

The crews of both ships 

lo the scene. The Datehman 
reveals hi* identity and de- 
clares himself cursed forever. 
He springs upon his ship — 
the crimson sails expand as if 
by magic and the ship de- 
parts, with the crew chanting 
their weird refrain. 

Senfa, in wild exaltation, 
rushes to the highest rock, 
callins to the departing vessel, ' 




VICTOR BOOK OP THE OPERA— FLYING DUTCHMAV 

" I am faithful unto dealh." anil throw* Herself into the sea. The Flying Dutchman ainka be. 
neath the water, and riiing from the wreck can he seen the forma of 5en(a and the Datchnan 
claaped in each other'* arma. The curae haa been baniahed — tiue love haa triumphed [ 

Thla brilliant aelection containa «ome of the Rneat muilc of thi* wonderful maaterpiece, 
in which Wasner ha* portrayed the *tory of the Dalchman condemned to aail forever on the 
atonny sea unleaa redeemed by the love of a woman. 

Two variation* of the eiquiiite theme repreaentinB ReJtmptlon bf Woman'i Lcot are 
given. We firrt hear the magnificent strain played by the orcheatra in Act III when Senta 
plunges into the aea, after the Dulthman, believing her false, baa sailed awayi then foltowa 
the theme first heard in Saila'a ballad, one of the finest numbera in the opera. Then appeara 
ibe second of the two principal tbemea : the Fk/ing Dalchman motive : 



a weird melody representing the restlesa wan 
ing chorus of DalanJ's sailors, "Steeisman, 
which follows: 



MISCELLANEOUS FLYING DUTCHMAN RECORDS 




(Italiaa 

LA FORZA DEL DESTINO 

(La Forf-zah delDea4t/'noh) 
(Engliih) 

THE FORCE OF DESTINY 

OPERA IN FOUR ACTS 

Book by Piave ; music by Giuseppe Verdi. First produced at St. Petersburg, Novem- 
ber 11, 1062; and in London at Her Majesty's Theatre, June 22, 1667. First New York 
production February 2» 1865, with Carozzi-Zucchi, Massimilliani and Bellini. 



•1 1 . 1 Mj /Soprano 

> his children Sr» . 

J IBantone 



CHARACTERS 

Marquis of Calatrava (Kai-ah4rai/M)ah) Bass 

Donna Leonora.! 
Don carlo. 

Don ALVARO. (jiU^H-nh) Tenor 

ABBOT OF THE FRANCISCAN FRIARS Bass 

MELITONE, a friar Baritone 

CURRA, Leonora's maid 

TRABUCO, muleteer, afterwards a peddler Tenor 

A SPANISH Military Surgeon Tenor 

AN ALCADE Bass^ 

Muleteers, Spanish and Italian Peasants and Soldiers, 
Friars of the Order of St. Francis, etc. 



Scene and Period : Spain and Italy ; about the middle of the eighteenth century. 



Verdi's opera of La Forza del Destino was never a great success; its story, which is 
taken from a drama of the Duke of Rivas, entitled Don Aloaro o la Fuerzer del Sino, being 
doleful and so crowded "with horrors that not even the beautiful music could atone for the 
gloomy plot. Old opera-goers well remember the last production of the opera at the 
Academy in 1681, with Annie Louise Gary, Campanini, Galsssi and Del Puente in the cast. 

The only production in America subsequent to that time "was that of the Lombardi 
Opera Company in San Francisco several years ago. 

The overture is a most interesting and rather elaborate one. 

Overture (Douhl»./aced—See page 145) 

By Arthur Pryor's Band 35215 12-inch, $1.25 

/Overture, Part I La Scala Orchestral. ^nno \t i^^u i '»* 

tOvcrturc, Part II La Scala Orchcstrar®^^ 12-mch, 1.25 

It opens with a trumpet blast w^hich sufficiently foreshadows the tragic character of the 
opera, this being followed by an air in the minor, leading up to a striking theme which steals 
in sofdy from the strings. 



x^his j' l j J r ■ p ip r 




This is the beautiful subject of the Afadre Pietota, afterwards heard with such mag- 
nificent effect in the opera. 

Part II opens with a light and pretty pastoral melody quite in the Italian vein. A 
notably brilliant passage for strings brings us again to the madre Pieioia melody, this time 
delivered in a triumphant fortisstmot after w^hich th^ overture works up to a truly animated 
and powerful finale. 

UX 



VICTOR BOOK OF THE OPERA— LA FORZA DEL DESTINO 

ACT I 

SCENE — Drawing Room in the House of the Marquis of Calatraoa 

Don Alvaro, a noble youth from India, becomes enamored with Dorma Leorwra, the 
daughter of the Marquis of Calatraoa, who is strongly opposed to the alliance. Leortora, 
knowing her father's aversion, determines to make her escape with Aloaro, aided by Gtrra, 
her confidant. 

She is in the act of eloping when her father appears, and is accidentally slain by her 
lover. Leonora, horror-stricken, rushes to her father, who curses her with his dying breath. 

ACT II 

SCENE I — An Inn at Homacuelos 

The second act begins in a village inn, where Don Carlo, son of the murdered Marquis, 
is disguised as a student in order to better avenge his father. Leonora, who is traveling in 
male attire, arrives at the inn, and is horror-stricken at seeing her brother, who has sworn 
to kill her lover Alvaro and herself. She flees to the convent of Homacuelos, arriving at 

SCENE II — The ConoerU of Homacuelos 

Kneeling in the moonlight, she pra3rs to the Virgin to protect her. This beautiful 
prayer is splendidly sung here by Mme. Boninsegna, accompanied by the chorus of La Scala. 

Madre, pietosa Ver^ine (Holy Mother, Have Mercy) 

By Cclestina Boninsegna, Soprano, and La Scala Chorus 

(In Italian) 92031 12-mch, $3.00 
The effect produced by the solo voice with the background of male voices singing the 
Vertite in the chapel is powerful and thrilling, and forms one of the finest of the Victor 
reproductions of Verdi's scenes. 

Lbonora : Leonora : 

Oh, Holy Virgin, O sublime song. 

Have mercy on my sins! Which like incense. 

Send help from Heaven Ascends heavenward. 

To erase from my heart It gives faith, comfort. 

That ungrateful one. And quiet to my soul. 

{The friars are heard in their morning hymn.) I will go to the holy sanctuary. 

The Fkiaks: The pious father cannot refuse to receive me. 

Venite, adoremus et procelamus O Lord! Have mercy on me, 

An tc Deum, ploremus, ploremus Nor abandon me. 

Coram Domino, coram Domino qui fecit nos. {She rings tHe bell of the convent.) 

Leonora is admitted to the convent, by the Abbot, to whom she confesses. He procures 
her a nun's robe and directs her to a cave, assuring her that a curse will rest upon anyone 
who seeks to know her name or to enter her abode. In her gratitude she sings the second 
great air. 

La Ver^ine dcgli an^eli (May Angels Guard Thee) 

By Celestina Boninsegna, Soprano, and La Scala Chorus 

(/n Italian) 91075 lO-inch, $2.00 

Again we have the effect of the solemn chant of the priests blending with the prayer of 
Leortora. 

The Friars: Leonora : 

La Vergine degli Angeli Let the Holy \'irgin 

Vi copra del suo manto, Cover you with her mantle, 

E voi protegga vigile And the angels of God 

Di Dio VAngelo santo. Watch over you! 

(Leonora kisses the hand of the Abbot and 

goes to her retreat. The monks return to 
the church.) 

ACT III 

SCENE— >4 Military Camp near VelletH 

In Act III we are transported to Italy, where we meet Aloaro, who has enlisted in the 
Spanish army. In a sad but beautiful air he recounts his misfortunes, and appeals to heaven 
for pity. 

O tu che in seno a^li Angeli (Thou Heavenly One) 

By Enrico Caruso, Tenor (In Italian) 88207 12-inch, $3.00 

142 



VICTOR BOOK OF THE OPERA-LA FORZA DEL DESTINO 



Alvaso: 
Life is 
death. 



In 



misery . 

. . Seville! 
. . . . Oh, memories! 
hast taken from me all 
shall ever be unhappv. . 
ten. . My father 

country free, and to wear a crown by marry- 
ing; ^ the only daughter of Ineas. He was 
foiled in his design. ... I was bom in 



vain I seek 
Leonora! 
Oh, night! Thou 
my happiness! I 
. . So it is writ- 
tried to make his 



prison. . . . The desert educated me; un- 
known is my royal descent! My ancestors 
aspired to a throne. ^ Alas! They were be- 
headed! Oh, when will my misfortune cease? 
Thou who hast ascended in heaven, all beau- 
tiful and pure from mortal sins, do not for- 
get to look on me, a poor sufferer, who with- 
out hope fights eagerly for death against 
destiny! Leonora, help me and have mercy 
on my sufferings! 



In the next scene he saves the life of Don Carlo, whose wanderings in search of ven- 
geance have led him to this region. Both having assumed fictitious names* they do not know 
each other, and s^^ear eternal friendship. Shortly afterward, during an engagement, Don 
Alvaro, wounded, is brought in on a stretcher by his soldiers. Thinking himself dying, he 
sends away the soldiers and requests that he be left alone with Don Cado, The great duet, 
the finest number in the opera, then occurs. 

Solenne in quest^ora (S^wear in This Hour) 

By Enrico CaniBO, Tenor, and Antonio Scotti, Baritone 

(/n Italian) 

By Lambert Murphy and Reinald 'Werrenrath 

{In Italian) 

By Carlo Barrera and Giuseppe Matftfi (In Italian) 

By huigi Colazza and Ernesto Caronna (In Italian) 

The wounded man confides a case of letters to his friend Don Carlo to be destroyed, 
making him swear that he will not look at the contents. Carlo swears, and the friends bid 
each other a last farewell. 



89001 


ll-inch. 


$4.00 


70103 


12-inch, 


1.25 


*68213 


12-inch, 


1.25 


♦63174 


10-inch, 


.75 



Alvaro : 

My friend . . 
my last wish. 
Carlo : I swear ! 

Carlo: A key! 
Alvaro : 

Open this case 

parcel. 



. swear that you will grant 
Alvaro: Look at my breast 



and you will find a sealed 
I trust it to your honor. 



with me 

the letters. 
Carlo: 

So be it. 
Alvaro {feebly): 

Now I die happy 



when I am dead destroy 



let me embrace 
It contains a mystery which must die Carlo: Put thy trust in heaven! Both: Adieu! 



you 



farewell ! 



The Caruso and Scotti rendition of this number is considered by many to be one of the 
most perfect and beautiful of all the Red Seal Records. It is certainly the most wonder- 
fully lifelike reproduction of these two great voices which could be imagined. The Purple 
Label Record by Mr. Murphy and Mr. Werrenrath is an excellent one, exhibiting the fine 
voices of these two young singers to great advantage. 

Just at this point it may be well to settle a controversy which has been raging ever since 
the issue of this record in 1906. This argument concerns the identity of the voices in the 
opening measures, and is the natural result of a remarkable similarity between Caruso's 
lower register and the medium tones of Scotti*s voice. The Victor Catalogue Editor now 
appoints himself a court of final appeal, and declares that contrary to the usual impression 
it is Caruso, not Scotti, who begins the record. Here are the opening measures just as sung 
by the artists: 



Don ALTAIC (CAaOW). 



\ ^A\\'**:u JTV^J^ri^^^J l f' r-pu j^j i 



So • lea • ne in qactt' ora 
iu tkii komr 



(tu • nr • m! do • v« • M Fkr 
my iatl mnsk to grmml wu, S» 



Dos Casus (flooftn) 




pa • go an mio voto 
40 mot rt •fmst mu. 



Lo Kin ■ ro Id |fu • ro, 
/ ttmear. I swetr. 



Sal CO - re c«r • ca • «e 
Up-tm ayf ktarty&tfUJkud 



^ Chvhk^aoed RtcQtd—FoT Wk rfofipoMt aide see the douhk^fooed Hai on page 145. 

143 



VICTOR BOOK OF THE OPERA— LA FORZA DEL DESTINO 



Aloaro, however, does not die, and in the next scene his identity becomes known to 
Don Carlo, who challenges him. They fight, and Alearo, thinking he has killed his enemy, 
resolves to end his days in a monastery. 

ACT IV 
SCENE — Same as Act II, Scene II 

Five years have now elapsed and the last act reveals again the cloister of Homacuelos, 
where Aloaro, now Father Raphael, is discovered by Don CaAo, who with a persistence rival- 
ing that of a Kentucky mountaineer, revives the feud and tries to force him to renew the 
combat. Aloaro finally consents, and they agree to fight in a deserted spot near by. This 
agreement is expressed in a fiery duet. 

Invano Alvaro ! (In Vain, Alvaro !) 

By Enrico Caruso, Tenor, and Pasquale Amato, Baritone 

(In Italian) 89052 12-inch, $4.00 
The host of Victor opera-lovers who are familiar with the wonderful duet from Act III, 
by Caruso and Scotti, will note with delight the issue of another famous duet from this 
opera, sung by Caruso and Amato. 

This great scene has been recorded in two parts. Carlo demands that Aloaro renew the 
feud, but the priest refuses, saying that vengeance is with God. Don Carlo taunts him with 
a terrible persistence, until the monk, goaded past endurance, consents to fight to the death. 

Caslos: 

Yes! and for Ions years 

I have sought and now find thee. 



Carlos : ^ 

In vain, Alvaro. 

Thou hast hid trom the world, 

And concealed thy coward heart 

With the habit of a monk! 

My hate and desire for vengeance 

Have enabled me to persist 

Until I have discovered your retreat! 

In this lonely spot 

Wc shall not be disturbed, 

And your blood shall wipe out 

The stain upon my honor; 

That I swear before God! 
Alvaro (recognising him) : 

Don Carlos! Thou livestl 



By thy hand I fell, 

But God restored my strength 

That I may avenge thy crimes! 

Here arc two swords, 

Thy choice now make! 
Alvaro : 

Leave me! By this holy habit 

Thou may'st see my repentance! 
Carlos (in fury): 

Coward! 

Thou shalt not hide behind thy robes! 
Alvaro (agitated): 

Coward! Oh, God 

Give me strength to forgive thee! 



Le minaccie, i fieri accenti (Thy Menaces ^Vild !) 

By Enrico Caruso, Tenor, and Pasquale Anxato, Baritone 

(In Italian) 89053 
By Titta Ruffo, Baritone, and Enxanuele Ischierdo, Tenor 

(In Italian) 92504 
By Carlo Barrera, Tenor, and Giuseppe Matftfi, Baritone 

(Doubk-faced—See page 145) (In Italian) 68213 

Alvaro recovers his poise and endeavors to appeal to the reason of his enemy, showing 
him the (utility of reopening the feud. Part II begins as follows : 
Alvako (firmly): 



12-inch, $4.00 
12-inch, 4.00 
12-inch, 1^5 



Thy menaces wild 

Be heard only by the winds, 

I cannot listen! 

Brother, let us submit to fate 

And the will of God! 
Carlos : 

Thou hast left me 

A sister deserted and dishonored! 
Alvaro : 

No! I swear it! 

I adore her with a holy love. 

Carlos (furiously) : 

Thy cowardly pleadings 

Cannot move me to pity. 

Take thy sword and fight! 
Alvaro : 

Brother, let me kneel to thee. 

(He kneels.) 
Carlos : 

Ah, by such an act 

Thou showest thy base origin! 



Alvaro (rising^ unable to control himself) : 

My lineage is brighter than a jewel — 
Carlos (sneeringly) : 

A jewel flaw'd and discolored! 
Alvaro (in fury) : 

Thou liest! 

Give me a sword. Lead on! 
Carlos : 

At last! 
Alvaro (recovering himself) : 

No, Satan shall not thus triumph. 

(Throws down his sword.) 
Carlos : 

Then coward, I brand thee with dishonor! 

(Strikes him.) 
Alvaro : 

Oh, God, no more.' 

(To Don Carlos) 

Defend thyself! 
Both: 

We both must die, 

Our hatred will be appeased 

And Satan will claim us for his own! 



144 



VICTOR BOOK OF THE OPERA— LA FORZA DEL DESTINO 

ACT V 

SCENE— y4 Wild Spot Near Homaaidoa 

The scene changes to the vicinity of Leonora's cave. Pale and vrom, the unhappy 
"woman comes from the cave, and in another great air implores Heaven to let her die, as 
she is unable to forget her lover. 

Pace rxno Dio (Mercy, O My Lord) 

By Celestina Boninsegna, Soprano (In Italian) 92027 12-inch, $3.00 

Leonoka : 

Mercy, oh Lord! 

My^ sorrows are too great to bear. 

This fatal love has been my undoing, 

But still do I love him. 

Nor can I blot his image from my heart; 

Yet 'tis Heaven's decree that I shall see him 

no more! 
Oh Lord, let me die. 
Since death alone can give me peace! 

A storm now breaks, and Leortora retires "within the cave just as Aloaro and Cai^o ap- 
pear for the final combat. Aloaro recognizes the spot as an accursed one, but declares 
that it is a fitting place for the ending of so deadly a feud. 

Don Carlo falls mortally "wounded, and desiring to repent his sins asks Aloaro, w^ho is 
known as Father Raphael, to confess him, but the monk* is under the curse of the cave ana 
cannot. He goes to call the friar w^ho dwells in the cavte ; Leorwra rushes forth, sees her 
brother "wounded and embraces him, but true to his vow made in Act 1 he makes a dying 
etfort and stabs her to the heart. 

This dramatic scene has been put by Verdi into the form of a trio. 

Non imprecare, umiliati (S'wear Not* Be Humble) 

By Ida Giacomelli, Soprano ; Gino Martinez-Patti, Tenor ; Cesare Preve, 

Bass {LhuBk-faced— See below) {In Italian) 68026 12-mch, $1^5 

Don Aloaro then completes the catalogue of horrors by throwing himself from a clitf 
just as the monks arrive singing the Miserere. The curtain then falls, evidently because, as 
one critic has said, every member of the cast being dead, there seems to be no reasonable 
excuse for keeping it up any longer I 



DOUBLE-FACED FORZA DEL DESTINO RECORDS 

fOvcrturc By Arthur Pryor's BandK^2i5 i2-mch $1^5 

\ Orpheus in Hades Operture {Offenbach) By Arthur Pryor's Band) " ' 

{Overture, Part I By La Scala Orchestral ^.^^^^^ - ^ . ^. , ^ - 

Overture, Part II By La Scala Orchcstrar®^^^ 12-inch, 1^5 

Le minaccie, i fieri accent! (Let Your Menaces) 1 

By Carlo Barrera, Tenor, and Giuseppe Ma^^i, Baritone 

{In Italian) [682 13 1 2-inch, 1 J25 
Solenne in quest*ora (Swear in This Hour) By Carlo 

Barrera, Tenor, and Giuseppe Ma^tfi, Baritone {In Italian)] 

'Non imprecare, umiliati By Ida Giacomelli, Soprano : 

Gino Martinez-Patti, Tenor; Cesare Preve, Bass 

{In Italian) 
Ballo in Maschera — Ah t qual soaoe hrtifido { Thy IVords, Like Dew) 
By Ida Giacomelli, Soprano, and Gino MartineZ'Pattt, Terwr 

{In Italian)^ 

Solenne in quest'ora (Swear in This Hour) By Lui^i 

Colazza, Tenor, and Ernesto Caronna, Baritone {Italian) 
Faust — lo ooglio il placer { The Pleasures of Youth) By 

G, Pini'Corsi, Tenor, and Aristodemo Sillich, Baritone {Italian) ^ 

145 



68026 12-inch, 1.25 



63174 lO-inch, .75 




FRA DIAVOLO 




COMIC OPERA IN THREE ACTS 

Libretto by Scribe, devued from the aloryoF Le«ueut'a earlier 
opera./^ Caoemt. Muaicby DBnielFr(uifoiiE«prit Auber. Firat 
production at the OpO^a Comlque, Pana, January 28, IBM. 
Presented in Vienna, 1630. London.atthe Dniry Luie Theatre, 
in EnEliah. Novembers. 1631. In Italian at the Lyceum Theatre. 
London. July 9, 1857. Firit American production at th« Old 
Park Theatre, New York, in Engliih. June 2a IS33. It waa not 
until 1664 that it waa given in Italian in New York, and thU wu 
at the Academy of Muaic. with Clara Louiae KelloxK- Colonel 
Mapleaon gave three perforniance* of the opera at the Academy 
of Mu«c in 1865. ft wai recently revived at the Manhattan 
Opera and aFterward* at the New Theatre by the Metropolitan 



Chiractera 

FRA DiAVOLO. calling himaelf'MarquU of San Marco" Tenor 

Lord RoCBURC (Lord Allcaah), an English traveler Tenor 

LADY PAMELA (Udy AllcaahX hU wife Soprano 

Lorenzo. Chief of the Carabinien Tenor 

MATTEO, the innkeeper Baaa 

ZERUNA hia daughter Soprano 

B^."°'}^'"P""'°""'*''"'°^'"''° {Tenor 



The Scene .- Ilalj;, 



n ihe ndgiAorhood of Terracli 




BOOK OF THE OPERA— FRA DIAVOLO 

TTic aloty of Fra Diaoolo ia melodramatic in die higkcM de- 
STce. Lortnxo, in command oE the Roman Dragoon*, ia leaving 
Maitto't inn to capture Diavolo and liis brigands, Juit as Ljitd 
Rochutg and hia wife, Pamela, who arc traveling under the 
Hume* of Lord and Lady Allcaah, arrive, lamenting their mia- 
fortunea, having been robbed on the road. Another traveler, 
colling hirruelf Manpih of San Marco, who ia no other than FfO 
Diaoolo, appears aoon after and !■ also welcomed by the inn- 
keeper, Malfeo, and hia daughter, ZtAlna. Loniao ia in love 
with ZtrUna, but ahe haa been promiaed by her father to a rich 
p&iaa'nt. The Marqulm openly courts Lady AUcaah and at the 
•ome time managea lo relieve her of her jewela. 

Glacomo and Befipe, two of Diacola 'i companiona, appear on 
the acene, and when all are oaleep, are admitted throiuh the 
window by the bandit. All three conceal themaelvea in 2!etllna '■ 
loom, and after ahe has retired they proceed to again rob Lord 
KaA Ladu Allcaah. Lortnxo now retuma, having killed most of 
the band of robbers and recovered the Englishinan'a property. 

He'expecta to receive the proffered reward of 

ten thousand piastres, and his hopes of winning 

ZtrUna seem brighter. 

The soldiers arrive at the ihn in time to 

discover the robbery, but Diaoolo covers the 

retreat of hia fellow-bandits by pretending to 

have a rendezvous with some lady, arousing the 

jealousy of both the Englishman and Lortnxo, 

the latter challenging him to a duel. 

The last act of the opers shows the forest 

where the duel is to take place. As LortnMo 

aadly watches the marriage procession of Ztrllna 

and the peasant Frdncficoapproach, he recognizes 

in the crowd Claeomo and Beppo, Both are 

arrested by the young captain, who through 

them hopes to capture the chief, Fra Dlaveio. 

The two brigand* are forced to betray Dlaaolo 

and lure him into a trap, where he is ensnared 

and shot. Aa a fitting climax, the happy Lorenio 

wins Malleo'i daughter for hi* bride. 

Those who hear these records of Aubef's 

melodious opera will be charmed by the bril- 
liant and fluent measures, varied here and there 

with premr bits of sentiment, which go hand in 

hand with the romantic story of the Italian 

bandit. 

The Victor offera a fuie record of the Agnett 

la illella, the popular Italian melody which 

Dlaaolo ainga in Act II, to warn his com- 
panions. Befifw and Claeomo, that all ia quiet 

in the bouse and they may now carry out ih 

Ladji Pamela. 

Records of the Overture and principal selections from the opera by two famous band) 

are also offered, while the brilliant opera aggregation has given a tuneful pri 

some of the gems of Auber's worL 

Genu from Pra Diavolo 

Chorus, " Victoria " — Solo. " Over Yonder Rock Reclining " — Easter 
Chorus, "Hail Blessed Mom "—Chorus, "Bless'd Powers That Still the Good 
Protect "—Solo, "Friend. Beppo, See" — ^Flnale, "Victoria." 

By the Victor Opera Company 31829 12-inch, tl.OO 




r scheme to again rob Lord Roiiurg and 



of 



VICTOR BOOK OF THE OPERA— FRA DIAVOLO 



The medley 
open* with the 
chorus of greet- 



Victoria 1 Victoriat 
Joy now reigns 

Then come* a 
hit of Zerllna'i 
hallad shout the 
dread Fra Dla- 
aJo, "On Yonder 
Rock ReclininK," 
followed by the 
EaaterChoruB. 

Act III, "Bl^ 
PowemThat Still 
the Good Pro- 
tect,' 'next occuis. 

The remaining numhera are the boast o( Dlaeoh aa 
he see* victory for all his (chemes: "The loid'a gold 
and hi* wife all are mine ! " and the chorua of thanks- 
giving at the final capture and death of the bandit, 
■ung to the melody oE Diatolo's air in Act L 





^^35109 ll-inch, *U3 



By VeiMlla'* lulian Band) 
[Donltttti) 139191 

" ■ " Fid 



^ li litella (Afnes. Dcautiful Flower) 

By Pietro Lata, Tenor im ji«uuii/i._, ,, 
Berhtttt—Guatda Den Ba-lolo ' (*" ' ' 

By Hagael, CanT, f^nl-Cord and Baili^] 



il yattlla'i llaUan Band] 
(In llallanA. 





DER FREISCHUTZ 



<Eafllih) 

THE FREESHOOTER 



- 1 Pari. 

(aa Roiln del Boti, wiui new libretto by BUze uid Sauvage, and many change*), at the Odton, 
December 7, 1624. Another new veraion, with accurate tranaletion by Pacini, and recita- 
livea by Berlioz, at the Acad«mie Royale, June 7, 1641. under the title of Lt Franc Archtr. 
In London «■ Dtr Ftrlicfmie or The Stoenth Bullet, with many ballads inserted. July 23. 

1624; in Italian, aa // Franco ArdtTo. at Covent Garden, Match 16, 1650 (recitative* hy 
Coals) : in German, at King's Theatre, May 9, 1832. It was revived at Astley'a Theatre with 
a new libretto by Oxenford. 
April 2. 1866. Fin* New York , 
productioD, in English, March 

12. 1625. 

Cast 
PRJNCEOTTOKAR, Duke of 

Bohemia Baritone 

CUNO, head ranger Bau 

Max, 1 two young (Tenor 
CASPAR.Jforesters \ Ban 

KiUAN, a rich peasant . , Tenor 

A Hermit...... BaM 

ZaMIEL, the fiendhuntsman 
Acnes, Cuno's daughter. 

Soprano 
ANNIE, her couiin. .. Soprano 
Chorus of Hunters, Peasants. 
Bridesmaids, and Spirits. 

Setne and Period: Bahtrrtia, I 

ibartly afUr Ihe Stem 

Year,' War. 




VICTOR BOOK OP THE OPERA— DER FREISChOtZ 



Overture to Freischutz 

By Soiu*'« Band 

By La Scala Orcheatrs 



(DoMt-Faai—Sm p^t ISI) 35000 12-uich, *|J5 
{D^k-Fac,d—&m pat. 151) 62636 lO-Itlch. .75 



The overture presenta the story of the opera in 
a condeiued iotia. An introduction with a tender 
horn paMage lesdi ua into the foreit. Night is fall- 
ing and myiterious tounda are heard. The allegn, 
representing the doubts of the good but vacillating 
young hunter, begins, and the sound of the magic 
buUets can be heard as they drop in the malting 
pot. Neil a beautiful melody, portraying love and 
happiness, appears, but this in turn is succeeded by 
another mood of diitresa. At length the triumphant 
strain indicative of the final victory is sounded, 
leading up to a splendid climax. 

Sousa'a Band has given a atining performance 
of this brilliant overture, while the rendition by La 
Scala Orchestra will please those who prefer orchoa* 
tral music 

The stoiy of the opera ia founded on a Cernum 
tradition, told among huntsmen, that whoever will 
sell his soul to Zamld, the Demon Hunter, may re- 
ceive seven magic bullets, which will always hit the 
mark. For each v^m whom he succeeds in secur- 
ing for the Demon, hia own life is extended, and he 
receives a fresh supply of the charmed missiles. 

Cuno, head ranger to Otfoi^r, a Bohemian 
"** prince, lias two aasiilanta. Max and Ciapar, both 

excellent marksmen. Max is in love with Agna, Cuno't daughter, who has promised to be 
his bride only on condition that be proves himself the best Hiot at a fortbcoming contest 
This contest, however, is won by Ktltan, a peasant. Max, in a dramatic air, bewaiti 
his bad lucL 

Durch die ^^alder (Thro' the ForeM) 

By Daniel Beddoc, Tenor (In EnglUh) 74244 12-inch. *1,90 

He believes he is cursed by an evil spirit which causes hia hand to fail. 





htd frc 



my rifle, r. 
e »ch bird 
at length f: 



r fail 



Cupar, who has already put himself in the power of Zamld, aeea here an opportunity 
to extend his own days of grace, and advises Max to seek the magicisn and secure some of 
the magic bullets. 

N^u. qu il ne m'^happe pas (Caspar's Air) 

By Marcel Journet. Bass {In Fttnch) 64236 lO-inoh, tl.OO 

He finally induces Max to meet him in the Wolfs Clen in order to receive the magic 
bullets, which he declares will always hit the mark. Max departa and Cupar gives vent to 
a fierce joy in this florid aitd dramatic number. 

In the meantime Apia is anxiously awaiting her lover and is much alarmed at his 
non-appeanutce. Am^e, her cousin, endeavors to cheer her by singing a gay air. 

ISO 



VICTOR BOOK OF THE OPERA— DER. FREISCHOtz 




Annie's Air/'Comes 
a Gallant Youth " 

By Marie A. Micliailoiva. 
Soprano (In Raalan) 
61134 lO-inch. *1.00 

She tleacribe* playfully 
the altitude a ehy maiden 
■hould Buume when the right 
young mnn happens along. 



And if Bwift emolion rushes, 

Shot from aniw'rinE lip and eye. 

Nothing woTH than maiden blushea 
•■ "^ ■ e gallant i 



Annla bega Agna to retire, but the young gi 




nighL She eaclauna at the beauty oF the night, and 
folding her hands in prayer, >he pray* for the aafety 
of her lover, and aalca Heaven towatch over them both. 

Preghiera (Agatha's Prayer) 

By Emilia Corai * 62636 lO-inch, tO.ZS 

Max arrivea, followed by AnMt, but aeema em- 

harraaaed and aayt he mujt go to bring in a atag he 

haa shot near the WolTa Glen, ^fliej bega him not 

to go near that haunted apot, but he disregards her 



The ■ 






\fax n 



^0^tti 



changea to the Wolfa Clen, where 
Cupar, and the magic bullets are cast 
amid scenes of horror, vrhile the demon Zamiei hoven 
near awaiting his prey. Max is returning with hii 
prize when he meets the Prince, who asks him to 
shoot a dove. The hunter compliea. |UBt missing 
Agna. who has come to the wood in search of her 
lover. Cupar is wounded by the very bullet which 
he had intended should slay Agna at the hands of 
Max. Zamiti carriea off his victim, while Max is 
forgiven and all ends happily. 



DOUBLE-FACED FREI5CHUTZ RECORDS 
fOverture to Freisehiiti 
1 Carmtn StlecUon 

/Overture to Freischiitz By La Scala Orchestral,..,, ,. ■ l 

Ipreehicra (A«ath.'. Prayer) EmilU Corsi. Soprano (Wlfln)/"*'* 10-UKb. 
Jl. Prayer from Freischiitz 2. Greeting Victor Brass Qt.),,--- ,- , <, 
\ Venetian Loot Song (Canzunt Amorota) yiclar Orchethar"^^" lO-tnch. 






it/cppmmilJimtaiQttllt 




GERMANIA 

(Jair-l<Mf/-na-M 

A Lyric Drima in a Praloffuc. Two Sceaes and Epilogue 
Text by Luigi niica. Mu«ic by Alberto Frandiett!. Firat producrion at Milan in 1902- 
Fiiat American production. New York. January 22, 1910; with Caruso, Deatinn and Amato. 

Cast of Characters 

Giovanni FIuppo Palm Baaa 

FEDERICO LtEWE] I Tenoi 

Carlo Worms ISludenta {Baritone 

CRiSOGONO J (Baritone 

RiCKE Soprano 

Jane, her aiater Mezio-Soprano 

LeNE ARMUTH. an aged beggBT-woman Mezzo-Soprano 

JEBBEL. her nephew Soprano 

STAPFS, Proleatant Priest Baas 

LUKia ADOLFO GUGUELMO LiJTZOW Bass 

CARLO TEODORO KORNER Tenor 

S1GN0RA HEDVIGE Mezzo-Soprano 

PETERS, a berditnan Bass 

Chief of German Police Baa* 

Historical Personages. Students, Soldiers. Police Officers. Members and 

Associates of the "Tugendbund," "Louise-Bund " 

and " Black Knight* " ; Forest Girls. 

Timc! 1813. 
The opera ia the work of an Italian nobleman, who, although a veiy wealthy man. is 

leieating opera, full of local color, describing (he Germany of the time of Napoleon, with its 
many conspiracies! and for this the Baron has written much effective and agreeable music 
The action takes place in 1613. at the time of the battle of Leipzig. 



VICTOR BOOK OF THE OPERA— FRANCHETTPS GERMAMIA 



PROLOGUE 

SCENE— ^n AbandantJ Mill near Nuianhag 
A coRipuH' of atudenO, under the leaderahip of GlooannI Palm, have occupied aa old 
mill, and are shipping aacks of s^atn, vrhich really contain politicBl documents intended to 
route the people to revolt. Prominent among the (tudents ia Womu, who previouily had 
a love affair with Rickt, a young girl who is now betrothed to LotiM, the poet and warm 
frieod of Wenm. Loace ia expected to arrive at any moment, and Rlcln dreada hit coming, 
aa she has made up her mind to tell him her guilty secret. IVormi, however, divines her 

fiurpose and bids her keep silent, as in the duel which was sure to occur Lotiae would 
ikely he the one to die. 

Loeiee arrive* and is joyfully greeted by the coiupiratora. He CDcaurages them to freak 
efforts in his noble aria. 

Student!, udite I (Students. Hear Me I) 

By Enrico Cacufo. Tenor <Jn ItaUan) 67093 lO-inch. *2.00 

Caruso delivera this inspiring number with splendid effect, showing well the beauty and 
power ot hia marvelous voice. 

The enthusiasm which foUowa Lotux'a 
great address is rudely interrupted by the 
arrival of the police, who aeize Palm and 
lake him away to hia death. 

ACT I 
SCENE— y4 Callagt In Ihe Black Forai 

Seven years have elapsed. Hither 
Loent has come after the disastrous cam- 
paign of 1806. which followed the plotting 
in Uie old mill. He lives in this hut with 
his aged mother and the two girls, Riclf 
and her sister Jane. Worm! has disap- 
peared and is supposed to be dead. 

Lotwt is about to be married to 
Ridfe, and the brideamaida now arrive to 
deck the cottage with flowers. Ricj^, think- 
ing of her past, ia melancholy, but the 
marriage ceremony ia performed and the 
bride and bridegroom are left alone. 
Ftderico clasps het in his arms and sings 
hia beautiful air to the eyea of his bride. 

Non chiuder ^li occhi vaghi 
(Close Not Those 
Dreamy Eyes) 

By Enrico Caruso. Tenor 

llnllatlon) 87054 lO-inch. *2.00 

Forgetting the post, Rlckeyivlda herself to the joy of the moment and tenderly kisses 

him, when suddenly from the forest is heard a familiar voice singing an old student song. 

" IVomal" joyfully cries Faierico, and runs out to meet hia old frieitd, who is wasted and 

battle-scarred. 

fVoma, in a dramatic aria, tells his friend how he has literally come back from the dead. 
He relates hia thrilling escape from prison, his delight in his new-found liberty, and his 
earnest desire for vengeance. 

Ferito, prigionier (A 'Wounded Prisoner) 

By Paaquale Amato. Biritoae (.In Ilallan) 8B437' I2<iDch, *3.00 

Amsto. who was the original Woma in America, sings this great air with splendid effect. 

Worms ia aatoniahed to see Rick^ who has been liatening half hidden behind the folda of 

a curtain. She looks coldly at him and he uneaaily says he must bo on his way. FtdtHeo 




VICTOR BOOK OF THE OPERA— FRANCHETTI'S GBRMANIA 




■roteat*, but 



^dct. 



Womu iiuiiti and depart*, 
me by ihi* reminder o( her 
}a*t im*fottune, reiolves ta leave Her hu*- 
banil, and write* him a note and flee* into 
the forest. Ftdtiico returns, read* the 
note, and wrongfully concludes that *he 
has Sed with Wormt. 

ACT 11 

SCENE— >4 Ctllar In KonigJicrg 
In thi* underground retreat Woma i* 
again plotting against Napolton. A meeting 
of the Council is in progreaa, when FeJerlat 
appears and demands that iVormt shall 
fight with him to the deatK but Wormt, 
kneeling, aaks Ftdaieo to kill him. Ftderiat 
replies with a violent blow in the face, at 
which Woma decides to fight him, and 
preparation* for the duel are begun. They 
are interrupted by the entrance of Queen 
Louite, who suggests that such brave men 
had better be using their swords for their 
I country. Fired with enthusiasm , the 
enemies embrace each other and swear to 
die for Gerroan)'. 

EPILOGUE 
SCENE— rAe Battl^tli of Leifitig 
The awful three day*' conflict is over 
and the field is a mass of ruins, battered wheels and dead and wounded men. Rlcl^e 
searches (or the body of Fedtrico that she may look upon his face once more. She finds 
him dying, but he recognizes her, and telling her that the body of Woma is nearby, aaks 
ber to forgive him as he himself has done. Rickc looks on the face of the man who had 
ruined ber life and forgives him. 

She return* to her huaband and when he die* in her arm* wait* beside his body for 
her ovm death, which she feels approaching. As the sun sets the defeated Napijton with 
the shattered remain* of hi* army is seen retreating. 




LA GIOCONDA 



ILah JthJk-Hi'-dah) 

OPERA IN FOUR ACTS 
Libretto hjr Arrigo Botto; muaic by Amilcsie PonchielH. 



_ . , a adsptation of Victor 

Hugo*! dranu, "AnBcIo," and wu 6rtt pieiented «t La Scala, Milan. April 6, 1676. Firat 
London producdoo in the •ummet of 1663. Pint New York 
production December 20, 1863, with Chriatine Nilnon, \~, 
Scakhi, Funch-Madi, del Ptiente and Novant. 



Character* 

La GIOCONDA. a ballad ■inger SopnuiO 

La QECA, (SitV-t^) her blind mother Contralto 

ALVISE. {AI-Bt/-iat) one of the heads of State Inquisition . . Baw 

Laura, hi. wife Mezzo-Soprano 

ENZO GRIMALDO, a Genoese noble Tenor 

BARNABA. b apy of the Inquisition Baritone 

ZUANE, a boatman BaM 

15EPO, public letter.writet Tenor 

A PILOT Basa 



Thea, 



n fakes place in Vaii 



. in the laxnttatth cenlurj. 




Gioconda ii a work ai great beauty, full of wonderful , , , 

arias, duets and eniembjes. with fine dioral effects, and a 

magnificent ballet. The book ia founded on Hugo's "Tyrant of Padua," and tells a mo« 
dnunatic story, which, however, cannot be called inviting, as the ilbiettist has crowded 
into it nearly all the crimes he could think oft 

But the average audience does not concern itself much 
with these horrors, being engaged in listening to the beautiful 
music, and admiring the splendid scenes and colorful action. 
Therefore the story will be but briefly sketched here. 

ACT I 

SCENE— 5lKef ntar Ihe Adrleac SAare. yalee 
Ghcanda, a ballad singer who ia in love with Enxo, a Gen. 
oese noble and captain of a ship now !n the harbor, supports 
her blind mother. La Occa, by singing in the streets of Venice. 
She has attracted the attention of Bamaba, on influential police 
spy, and he plans to gain her affections. 

Thia is the situation at the rise of the curtain. The stage is 
EJIed with people, peasants, sailors masquers, all in holiday at- 
tire. Bantata i« leaning against a pillar, watching the gay scene. 
The chorus sing their opening number, Sporti and FeaiHng. 

Feste I pane I (Sports and Feaftting I) 

ByLaScil>Chorui(/n/(df<in) *49010 lO-inch. *1.00 
At the close of thia number, Bamata advancea and an- 
nounces the commencement of the ftegatta. All hasten to the 
shore, while BamiAa remains to soliloquize on his plot to secure 
the lovely Ghxortda. Gioconda enters, leading her mother. La 
Qeca, by the hand, and Bamaba hastily hides behind a column 

. _ to watch them. La Oeea sings a beautiful air, blessing her 

DESTIHH At aiocoKDA daughter for her tender care, and this leads to a trio. 

*Dt4iltJ'actdRia.rJ—Fe'liiltBfepp«1lr^Jittt DOUBLE-FACED LA GIOCONDA RECORDS, pof 161. 




VICTOR 



300K OF THE OPERA— LA OIOCOKDA 



Figlii che reggi tremulo pii (Daughter. My Faltering Steps) 

By A. RoMi Murino. Soprano; L6pes Nunea, Sopcanc 



Ernefto Badioi. Baritone 




bid* him stand aside. He at- 
: her, but (he 
eludea him and makes her 
escape, leaving the spy furious 
and planning revenge. 

The people now return 
from the Elegatta, bearing the 
victor on their shoulders. 
BarruJm, seeing the defeated 
combatant. Zuane, conceives 
a plan to deprive Gloamda of 
her mother, thus leaving him 

free to carry out his plans. 

He takes Zuane aside and tells .- aci . 

him that the blind La Otca a a witch who ha* cast a spell over him, causing his defeat 

The old woman Is being roughly handled by Zuane and his (nends when Eiao suddenly 



with hi* wife Laura, formerly betrothed to 
■ protected by Alolie. The blind woman voice* her 
s familiar to most concert-goer*. 



Ahlat, CUef of the Counc 
Laura plead* for Qeca, and she 
lude in this lovely song, which i* tamiJiar to m 

Voce di donna (Angelic Voice) 

^g^ By Louise Homer. Contralto (JnHallan) 85104 12-inch, *3.00 

^EjK Although the part of the blind mother. La Otca, ha* never been 

|FL W sung by Mme. Homer, she being usuallv caat for Laura (the superb 

mSP ■ Ix^y of Venice and rival of Gloconda), this beautiful air has always 

1^^ appealed to her. It is considered the finest single number in 

Ponchielli's work, and is undoubtedly one of the loveliest gems in 

' C'eco of present memory ha* ever delivered 

ichneis of voice and such touching pathos. 




Certain „ .._ . 

this romance with such r 
This beautiful passage— 



^^m 



;^^s 



which is sung as La Cleta pre 
elective part of the aria. 

Mme. Homer's ainging of this Voce dl donna make* this record 
one of the gems of the Victor'* line production of La Glacoitda, and it 
should form part of every opera collection. 
nmltofoetBMcadi H DOUBLE-FACED LA ClOCONDA RECORDS, utt 16 f- 



VICTOR BOOK OF THE OPERA — LA GIOCONDA 



L« Cieca; 
ThankK unto 
My f«Krs ■ 



By whon 
(Takts I. 



duel, (ung Kere by Conti 



delighted at this Devra, and (orgetting Gloconda, H^ return 
This Kene bos been put by Verdi into the form of b 
and Badini, of the La Scaia forcca. 

Enzo Grimaldo (Duet Enio and Baroiba) 

By F. Conti, Tenoc, and E. Badini, Baritone (InllaUan) '45033 10-inch, : 

Bainau (approaehine Enta): 

Knio Grimaldo. 

Prince of Siota Fior, thou »rt peniiw. 
Enio {aiidt): 



f hy Eirthi 



c thy thsughli, hon 



cd. bv chainl»iB impulse, 
hou didsl love 3 maJdrn 




Hrr Ihou dosi love as sl»er, I 
Thou harist all hope abandon 



Love «ee« throogh disguises. 

All this night wilt her husband s 

Doie'i palace. 
With Ihe Great Council. Lauta s 



conda loves thee, hate 
ave sworn lo crush hi 
■.o-a death would litlle 
' must learn how false 



Save her from grief and pain: 
Hul ah. Mweel Laura, my adored. 
Brine lo mv amu acaint 



tiA (10 Bni 
e "d th'y whi 



I this. Beware 



Good'lock attend you! 



I ibatl await my Laura. 



'DiuUi-FactJRicont-FBrlllltfiftnua^iiJt MX DOUBLE-FACED LA GIOCONDA RECORDS.pi 



VICTOR BOOK OF THE OPERA — LA GIOCONDA 



Bamata then writes [a Ahlit that his wife plan* to elope with Ento. He speak* the 
words aloud u he writes, and ie heard by Glvconda, who is overcome at this evidence of her 
lover's faithlessness, and heartbroken, enters the church with her mother. Bamaia nnss 
the famous Soliloquy to the Doge's Palace, given here in splendid style by Ruffo. 

Oh 'Monumentol (Oh, Mighty Monutnent) 



By Tina RuSo, Baritone 
The act doses with a famous 
SinfonicB of La Scola. 
Furlsna (Finale. Act I) 

By Italian Orchestra 



Un llallan) 8B396 12-iach, t3.0O 
dance, the FaHana, played bare by the famous Orchestra 



*490S3 10-ineh. *1.00 
ACT II 

SCENE — A Lagoon near Vaittt — it U night. Ento 'i tAfp b ihoien at anchor, 
milk talloa gnupti on deck, fling 
Bamaba, disguised as a (jsherman, appears in his boat, hails the sailors, and aings diem 
a merry ballad. Ah, ptxalorl 

Ah, pewator afifonda I'esca (Fisher Boy. Thy Bait Be Throwing !) 

ByTitta Rufio, Baritone (In llallan) 88394 IX-iach. *3.00 

By Paaquale AmaCo and Opera Chorus Itn llallan) 8Z093 lO-inch, 2.00 

By Ernesto Badini, Baritone, and Chorus (in llallan) *450IO 10-itich. l.OO 

This is one of the most 
popular numbers in the opera, 
its beautiful melody and 
rhythmical swing being a wel- 
come relief in the midst of so 
much that ia gloomy. 

After taking car^ul note 
of the strength of the crew, 
Bamaba sends hi* aide for the 
police galleya and leaves in 

Emo now appears, and is 
greeted by his men iivith en- 
thusiasm. He is in a gay hu- 
mor, thinking of Lauta'i ex- 
pected visit, and bids the 
sailors go below while he 
keeps the watch. 

Left alone, he gives ex- 
pression to hisjoy inthis great 
aria, one of the most beautiful 
in the vrhole range of opera, 
lavish outpouring of voice. 

Cielo e mar (Heaven and Ocean) 

By Enrico Csruao. Tenor 

By Florencio Constantioo. Tenor 

By Franco de Ctetorio, Tenor 




(In llallan) 88246 12-ineh. $3.O0 
{In llallan) 640T0 lO-inch, 1.00 
(In llallan) *49027 10-inch, 1.00 



which the tenor delivers m q>lendid style, fairly thrilling hia h 

Other fine records of this effective number, by Conatantiiio and de Cregorio, are also 

•DpMtJ'aaJRfa.J—Fvrlitkiifiap-Hlkit'hKt DOVBLEJ'ACED LA CIOCONDA RECORDS, mf 161. 



VICTOR BOOK OF THE OPERA — LA GIOCONDA 



Enzo: 
Heaven and ocean I yon ethereal veil 
Is radiant as a holy altar, 
My angel» will she come from heaven? 
My angel, will she come o'er ocean? 
Here I await her, I breathe with rapture 
Tile soft zephyrs fill'd with love. 
Mortals oft, when fondly sighing, 
Find ye a torment, O golden, golden dreams. 
Come then, dearest, here I'm waiting; 

Wildly panting is mv heart. 
Come then, dearest! oh come, my dearest! 

Oh come, taste the kisses that magic bliss 
impart ! 

Oh come! Oh come! Oh come! 

Laura now appears, and after a rapturous embrace, the lovers 
plan to set sail when the wind rises. Enzo goes below to rouse the 
men, when Gioconda, disguised, enters and denounces Laura. 

They sing a splendid dramatic duet in which each declares 
her love for Enzo and defies the other. 

L*aino come il fulgor del creato ! (I Adore Him !) 

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

(In Ilalian) 88271 12-inch, $3.00 

Gioconda is about to stab her rival, when the sight of a rosary 
worn by her intended victim causes her to repent, and she aids 
Laura to escape just as her husband, summoned by Barnaha is ap- 
proaching. 

CONSTANTINO AS ENZO EivBO appears and is greeted with reproaches by Gioconda, who 

tells him that the war galleys, led by BamcAa, are coming to capture the ship. Eruo, stung 
by Gioconda* s scorn, and heartbroken at the loss of Laura, fires his ship to prevent it falling 
into the hands of Barnaha. 

ACT III 

SCENE— >l Room in the Palace of Ahiae, Night 

Aloise is discovered alone, in violent agitation, planning the death of Laura because of 
her attempted elopement with Enzo. 

He sings a dramatic air, picturing his fearful revenge. 




COrt'T HISHRII 



Si ! merit ella de* ! (To 

By Amleto Galli, Baas 



is Her Doom !) 

(In Italian) '^55019 12-inch, $1.50 



Alvise (in violent aqitation): 

Yes, to die is her doom! My name, my honor. 

Shall not with impunity be disgraced. 

From Badocrs, when betrayed. 

Pity 't were vain to hope. 

Though yesterday upon the fatal isle 

She Escaped this vengeful hand. 

She shall not escape a fearful expiation. 

Last night a sharp poniard should have 

piercea her bosom; 
This night no poniard I'll use; she dies by 

poison ! 
(roiniing to the adjoining room.) 
While there the dancers sing and laugh, 
In giddy movements flying. 
Their mirthful tones shall blend with groans, 



Breath'd by a sinner dying. 

Shades of my honored forefathers! 

Soon shall your blushes disappear; 

Soon shall a deadly vengeance prove 

Honor to me is dear. 

While^ dance the giddy crowd. 

In mirthful movements flying, 

Here shall be heard the bitter groans. 

The sinner breathes in dying. 

Yonder, the nobles of the nation 

Are gathered at my invitation; 

Here, an insulted husband 

For signal vengeance cries! 

Exult, in dances and in songs. 

While here a faithless one dies! 



The guilty "woman now enters at his summons and is denounced by him. He orders 
her to take poison, and leaves her. She is about to obey, when Gioconda, who has been 
concealed in the room, appears, takes the poison from her and gives her a narcotic, which 
will^ produce a death-like trance. Laura drinks this and Gioconda exits just as Aloiae appears. 
Seeing the empty phial on the table he believes Laura has obeyed his will. 

The second scene shows a magnificent hall in the palace, where Aloise is giving a 
masked ball. The famous Dance of the Hours is given for the entertainment of the guests. 

* DwJbM'aotd Reeonl-For Htk o/ofipotUe Bide jee DOUBLE-FACED LA aOCONDA RECORDS, page 161, 

159 



VICTOR BOOK OF THE OPERA — LA GIOCONDA 



Dance of the Hours 








By Victor Herbert'! Orch. 

By Vicwr Orcheitr. 

By Victor Or<:he«tr« 

By Wm. H. Reitz {Xylophone 


700I0 
•35087 

31443 
•1714? 


12-mch. 
12-inch. 
12-inch. 
10-inch. 


»1J» 
1.2S 
1.00 
.75 



This ii one of the moet beautiful of ballets and ■ymbolizc. 
like many other modem Italian balleta, the ■tniee'e between ihe 
conflicting powen of light and darkneu. progrest and ignorance. 
Tlie muiic is faacinating in the extreme, and i> one of the most 
popular parts of tbe opera. 

Enzo ii present among the maskers, and when Bamaha whis- 
pers in his ear that Louia a dead, he unmasks and denounces Aloiic. 
who causes his arrest. The great finale bef[ins with Enzo 'a solo ; 

Gik ti vedo (I Behold Thee) 

By Lotti. de Grefforio. Badini and Chorus 

(/n llatlan) *5»0I9 12-isch, *1.50 
The emotions of the various characters may be understood 
by the quotations below. 











onles. 




Shrou 


dcd i 


thy s 






Thou 


art ( 


ad. lov 






Ah. n 










The s 


^r/ 


le for 






Open 


*ldt 


a dark 


abys 








>ha]] t 






sil'on 


.f-l! 


share o 






Ciacaxc 










Ssdlv 


*fil1 

Me 


.S T 


.-^pE 




B™k 


oh 


Mrt! S 


i'Ty 




Fale. 


&, 


harpfst 


dooir 


Baik 


«di): 




Yisid thee. yMi Ibee 


sll ar 


und 






hav 


for ill 




Gioco 


D* (atidt I 




aba): 




Do 


h»u uv< hi 


1. br 






Clo 


e by Ihc Re 




'.*anT hen 


My 










bS 


he=, fMrful 


s 


men. 




Tho 


uHh dcsMi. 
tfol it for in 




>ron.pl 


hy 




At bitx^iTo 




'will wc 







Mf 1 a 



watchful 



To complete his revenge, 
Alolae now draws aside a cur- 
tain and shows the guests the 
body of Laura, acknowledging 
that he tpok her life, f-forror 
and indignation are expressed 
hy those present, and Emo 
attempts to kill Alalte. He 
fails, is seized by the guards, 
and is led avray to prison as 
the curtain falls. 





ACT IV 




SCENE 










viMc 


In Ihe Jlilance 




To 




island 


Gfocem/o has managed 




the unc. 


nuciou. Laura 


in an 



• DcMcJ'aaJ RKord—Fet WJt 



H DOUBLE-FACED LA GIOCONDA RECORDS pan 161. 



VICTOR BOOK OF THE OPERA — LA GIOCONDA 

curtain rises two men are carrying the insensible form into the ruin. Gioconda asks the men 
to seek out her mother, vrhom she fears never to see again. Left alone, she approaches the 
table, looks fixedly at a flask of poison, and begins her terrible song, one of the most dra- 
matic of the numbers in Ponchielli's work. 

Suicidio (Suicide Only Remains) 

By Elda Cavalieri {DouhkJ^aocd—Set below) (In Italian) 55015 12-inch, $1.50 

For a moment the unhappy girl is tempted to complete Aloise's work by giving the poison 
to Laura, but banishes the temptation and throws herself down in a passion of weeping. 
Gioconda has secured the release of Enzo, and has sent for him to come to the ruined palace, 
intending, with splendid generosity, to restore the lovers to each other. 

Enzo now arrives, thinking that he is only to visit the grave of Laura, and a bitter scene 

occurs between the two, which is interrupted by the voice of Laura, w^ho has revived and 

now^ calls feebly. Enzo rushes forward in a transport of joy, while Gioconda makes further 

preparations for their escape. The lovers express their gratitude and depart, while Gioconda 

prepares for the end. She is about to swallow the poison when Bamaba appears, and in 

terrible accents demands why she has broken her Mrord to him. She pretends to yield to him. 

Gioconda (at first terrified, recovers her cour- And ne'er will Gioconda be false to her oath. 

affe, and retains it to the ehd) : May Heaven in mercy withhold condcm- 

Yes, I keep to my compact; we both swore nation, 

to keep it, And pardon us both! 

Bamaba is overjoyed and begins the final duet, the mdst dramatic scene in the opera. 

Vo' farmi piu gaia (Thou'rt Mine Now !) 

By A. Rossi Murine and E. Badini (In Italian) 5501 7 12-inch, $1.50 

Barnaba: 

Thou'rt mine now! and swift from this deso- Thou claimest Gioconda? Now demon accursed, 

late heart, Gioconda is thine! 

Expelled by love's rays, sombre shadows de- (She stabs herself to the heart with the dagger 

part. that she had secreted tuhile adorning herself, 

Gioconda (to Barnaba, who is approaching her): and falls dead at his feet.) 

Restrain awhile thy ardent passion! Barnaba (in horror): 

Thou soon shalt in splendor Gioconda behold! Ah, stay thee! 'Tis a jest! 

For thee I am braiding my clustering tresses (iVith fiendish joy.) 

With purple and gold! Well, then, thou shalt hear this, 

(Concealing her terror, she adorns herself.) And die ever damned! 

With glittering jewels, the gay tinsel worn (Bending over the corpse of Gioconda, and 

nightly screaming furiously into her ear.) 

By madcaps theatrical, cover*d I'll be: Last xk.ht thy mother did offend me: 

Now list to the song that this ardent young siren I have stranuled her! 

Will sing unto thee! (Wildly.) She hears me not! 

I keep to mv compact, no false oath was mine; (With a cry of half-choked rage he rushes 

(Changing her tone.) from the ruin. The curtain falls.) 



DOUBLE-FACED AND MISCELLANEOUS LA GIOCONDA RECORDS 



fFiglia che regtfi tremulo pi^ (Daughter, My Faltering Steps) 1 
J By Murino, Nunea and Badini (In Italian) I 



Vo' farmi pid gaia (ThouVt Mine Now) '^^^^ ^ 12-inch, $1.50 



55019 12-incli, 1.50 



By A. Rossi Murino, Soprano; E. Badini, Baritone 
Gii ti vedi (I Behold Thee) By F. Lotti, Soprano ; 

de Gregorio, Tenor ; E. Badini, Baritone (In Italian) I 
I Si I morir ella de f By Amleto Galli, Bass (In Italian) I 

jSuicidioI (Suicide Only Remains) By Elda Cavalieri\e</\iic i'» ;-. u i </\ 

1 Meftstofele-L'aitranotte By Elda Caoalierir^^^^ 12.mch, 1.50 

! Dance of the Hours By Victor Orchestral «-^«- i'> :^ k i **< 

Sweet Longings (Violin-Flute) By Rattay and Lyons P*'®^ 12.inch, 1.25 

Opening Chorus — ''Fcste! pane!" La Scala Chorusl j^^,^ in ;^«k i /w^ 

Barcarola— ''PescatoraflFondaresca" By E. Badini r*"**' lO-mcn, l.oo 

fEnzo Grimaldo By Conti and Badini (In ^'<''»<"»)Ij5Q33 in-inch 1 OO 

iFurlana (Finale, Act I) By Orchestra Sinfonicaj 

jCielo c Mart By Franco de Gregorio (In Italian) \a^q27 10-inch 1 00 

n I mi tradisce ^ de Gregorio (Italian) ( - , . 



\ Manon Lescaut — Ah, Manon , 

/Dance of the Hours (Xylophone) By Wm. H. ReitzK -, j - m i^^u t< 

t Maurice Tango (Banjo) By Fred Van Eps/*^**^ lO-mch, .ID 

161 




g6tterdAmmerung 



(Eafliih) 

THE DUSK OF THE GODS 

MUSIC DRAMA IN THREE ACTS AND A PRELUDE 

Wordi and muric by Richard Wagner. Firet produced at Bayreuth. Augmt 17. 1676, 
wilh MUema and Unger. Pint American productlan at New York, January 25, 1668. with 
Lekmann, Seidl-Krauat, Traubman, Niemann and FUcher. 

Character! 

SIEGFRIED Tenor 

GUNTHER (C™'j.r) Bam 

HAGEN (Hah'-tm) Baw 

BRUNNHILDE Soprano 

GUTRUNE (Goof-Iram'**) ,.. Soprano 

WOCUNOA. I I Soprano 

■WELLCUNDA. Rhine-Nympha ! Soprano 

FLOSSHILDE, J (Conlralto 

PRELUDE 
SCENE- n« Walkan-, Roc* 
Tht Du3l( of Ihe CoJt, the last part of the tetralogy. conBisls of three acta and a prelude. 
In the prelude we once more see Brannhilie on the rock, where she had lain dutLng her 
tnagic sleep, and where Siegfried had found her and taken hei as his bride. The hero, after 
a brief period of domeatic Happineti in a cave near by, decides to leave hia bride for awhile 
and go in search of adventures, giving her the Nibelung's Ring as a pledge of faith. This 
ring he had obtained when he slew the dragon Fafntr, and at the opera progresBea it will 
be seen that he is doomed to suffer the coniequences of the fatal curse, invoked on every 
ir of the Ring by Alhtrich. from whom it was forcibly taken by (fo'iiiT. 
162 



VICTOR BOOK OF THE OPERA— THE DUSK OF THE GODS 




PROLOGUE 

Aa the curtain liaet BrOnnhltdt and Sle^ritd come OMt of the cave, 
Sitgfritd in full armor and the VaUu/rit leaillng her hone by the 
bridle. She begiiw her tender address of farewell: 

Zu neuea Thaten (Did I Not Send Thee ?) 

By Johanna Gadiki 

/n Gaman 87098 lO-ioch, *2.00 



[ all Ihal gods had taiighit heavenly r 



My 1. 



Thii lovely air is delivered by Mme. Gadiki with tendemeu and 
feeling, and the record is an unusually fine example of the perfect 
recording of a beautiful soprano voice. 
ACT I 
SCENE— C<ul/e 0/ King Cunlher 
Sitg/rieJ joyously sets out on hia journey and soon cotnM to the 
Court of Kins GaMhti on the Rhine, where dwells aUo GunfAsr'i sister 
EPuuaKD DE lEsiKE Gulfunt, and their half-brother Hagen, who is a >on of Albtrich, the 
jis i<A<^F.N dwarf. Hagen knows the history of the fUng and is anxious to re- 

store it to hia father, so he artfully tries to win the help of Guntha. 
Knowing that the hero is approaching the castle, he outlines this 
scheme, which is to give Sleg/rleJ a drink which will make him forget BrOnnhlldt and fall 
in love with Gufrune, after which Gunlher can win the peerleaii BrOnnlillde lot himself. 
Ganlher is tempted, and when Siegfried's horn announcei hia approach he conienti. 

Siegfried greets them as friends, and when offered the magic drink he accepts and 
immediately loses all recollection of Briinnhilde. Seeing the lovely Gatnine, who standi with 
lowered eyes; he exclaims: 



W^y f^ 



The I 



renglh. 



Gulnins. trembling with emotion, leavei the 
Hall, and Siegfried, gazing after hei. asks Cunihtr 
if he hai a wife. The King, prompted by Hcgen. 
replies that he knows of one he would wed. but 
that she is surrounded by a magic fire which he 
cannot pan. Siegfried icema trying to remember 
his paat, but fails, looka confuaed, then suddenly 
says: 



— frai 



Willi a 



tn order that Briinnhilde may think that it is 
Ganther who has won her, it is agreed that 
Siegfried shall, by means of the Tarnhelm, change 
only of his reward, Sltgfritd eagerly departs. 




Canthtr't form. Thinking 



VICTOR BOOK OF THE OPERA— THE DUSK OF T HE GODS 

Hier sitz' ich zur ^wacht (Here I Wait) 

By Marcel Journet, Bass (/n German) 742 76 1 2-inch, $ 1 .50 

Hagtn, left alone, outlines his coming triumph, when he shall possess the Ring, and 
avenge its theft from his father, Albcrich, 

II AGE N : 

Here I sit and wait, watching the hall, 
VVarding the house from all foes. 
Gibich]s bon is wafted by winds; 
A-wooing forth is he gone. 
And fleetly steereth a stalwart man. 
Whose force all perils can stem. 



Mis own the bride he brines down the Rhine; 

Rut he will bring me the Rinp. 

Ye gallant partners, gleeful companions. 

Push ye then merrily hence I 

Slight though your natures. 

Ye still may serve the Nibclung's son I 



SCENE II— rAc Walkure's Rock 



The scene changes to the Valkyrie Rock again, ivhere 
BrUnnhildt awaits Siegfried's return. She is astonished and 
alarmed when she sees a stranger approaching, not understanding 
how he has penetrated through the fierv barrier. It is Siegfried 
in the form of Gunlher. He announces that he is Gunther come 
to win her for his wife. Brtinnhilde, in horror and despair, holds 
up the Ring, exclaiming : 

Bri'nnhilde: 

Stand back! bow to this token! 
No shame can touch me from thee 
While yet this Ring is my shield. 

Siegfried attempts to take it from her and after a struggle, 
succeeds. As he draws the helpless and despairing BrUnnhilde 
into the cave the curtain falls. 

ACT II 
SCEINE — The Rhine near Gunther' s Castle 

Hagen and Alberich discuss the progress of the plot to regain 
the Ring. Hagen swears to accomplish it, and Alberich vanishes. 
Siegfried, in his own form, but wearing the Tamhelm, arrives, 
greets him cheerily and says he has gained Gunther *a wife for 
him, but that they are returning home more slow^ly. Gutrune 
comes to meet Siegfried, and they go to the Hall. Hagen sounds his horn to summon the 
vassals and bids them prepare for a feast, as Gunther has taken a bride. 

Gunther no'w arrives in his boat, leading BrUnnhilde, who is pale and downcast. Siegfried 
and Gutrune come out to meet them and BrUnnhilde sees Siegfried in his rightful form. She 
recoils in horror at seeing him with another woman, and regarding her as a stranger. She 
then perceives the Ring on Siegfried* s finger and demands to know w^here he obtained it. 
He seems confused and regards the l^ng with a puzzled air. BrUnnhilde^ beginning to 
comprehend what has occurred, denounces him, ana Gunther, beginning to doubt whether 
Siegfried had kept his oath to respect BrUnnhilde as a brother's bride, looks threateningly at 
him. Siegfried, eager to set himself right, swears the oath of the spear. 

The vassals make a ring round Siegfried and Hagen. Hagen holds out his spear ; Siegfried 
lays two fingers of his right hand on its point. 




GAPSKI AS BRUNNHILDE 



SiECFRiEn: 

Haft of war, hallowed weapon I 

Hold thou my oath from dishonor I 

On this spotless spcar-head 

I speak the oath: 

Spear-point, aid thou my speech I 



Where steel e'er ran strike me, 

Strike thou at me: 

Whcr'er death can be dealt mc 

Deal it to me, 

H she is really wronged,^ — 

If I have injured my friend! 



BrUnnhilde, unable to contain herself at this evidence of Siegfried's baseness, repeats his 
oath and denounces him. 

Helle Wehf ! Heiligc W^aflfe ! (Haft of W^ar ! Hallowed Weapon) 

By Johanna Gadski, Soprano {In German) 87052 10-inch. $2.00 

Siegfried looks at her in pity, thinking her mad, and goes to the Hall with Gutrune. 
BrUnnhilde, Hagen and Gunther remain behind, the latter in deep depression. Hagen tells 



164 



VICTOR BOOK OF THE OPERA— THE DUSK OF THE GODS 



Brilnnhlldt (hat ho will avenge her wrongt "Thou ?" myt BrUnnhilde, coDtemptuousIy. ond 
tells him that onlr in hii back i* Siegfried vulnerakle, and that no magic protection waa 
placed there because (he knew that never would he retreat. GunOier now rouses himself 
and the three decide that Sieg/rled must die for his treachery. 

ACT III 

SCENE l~A Wild ValtB, near the Rhine 
The Rhine nympha rise to the aur. 
(ace of the water and sin^of the Rhine- 
gold. Thej apy SiegfritJ and ask him 
to give up the Eling, but he refuses, and 
they warn him that be shall die that 
very day. He laughs at the prophecy, 
and aa he watches them swim away. 
•ays bghtly : 



They seeV by thfrata to [tirhlcn. 
And when (tieie holh arc Morncd 
Th« bail bim with biller wnrdi. 

Hunting horns are heard and 
Siegfried gayly answers with bis own, 
Ganlher, Hagen and tbe hunters descend 
from the hill and greet bim. They camp 
and begin to eat and drink. Siegfried 
tells ibem of his adventure with Mime 
and the Dragon. Hagen gives him a 
magic diink which brings back his 
memory and he goes on to tell of the 
forest bird and his quest of the lovely 
BrOnnhllde. Gunlher begins to listen at. 
tentively, but when Siegfried reaches 
this part of his narrative, Hagen plunges 




Aeam 



SCENE n—HaU in Ganlher'i Palace 

Slegfrltd't body is borne mournfully to the Hall, where the weeping Gutnait meets tbem 
and clasps her husband's bfeless form. Hagen now demands the Ring as bis booty, but 
Qunihet refuses to yield it and ihey draw their swords. Qunther being killed by Hagen. 

Hagen now attempts to withdraw the Ring from Siegfried's finger, but as he approaches, 
the arm of tbe dead bero is raised threateningly, and all recoil in terror. 

BrUnnhilde now approaches and gazes long and sadly at Siegfried's face, then orders a 
funeral pyre erected to bum the bero'a body. The vassals obey and build a huge pyre on 
the bank at the fthlne, on which the body is laid. BrOnnhllde summons two ravens from 
the rocks, and begins her great Immolatlan Scene. 



Fliegt heim (Immolation Scene) 
By Johanna Gadski. Soprano 



1165 12.inch. *3.00 



VICTOR BOOK OF THE OPERA— THE DUSK OF THE GODS 



She bi(U tbe ra 
to Lokl, god of (ire. thai h( 
may complete the dovrnf 
of the godi by bum I 
Valhalla. 



Tbc Dusk of the gods. 
I klndle'v'alliaHa'sWw'rs! 

She kindles the pjlt 
which bums rapidly, am 
tha two laveni disappear i: 
ihe diKance. BrUnnhlUt 
hone i> hrousht in, and ah 
takea off the bridle. 



Siigfric 
To IT- 



Tily? 



h Ihy a 




Hciaiaho. 

Sicgfricdl Siegfrie 

Doth leap and allure Ihee! Sweetly greeli the 

She awings heraelf on the steed and rides •< 
up mightily, half consuming the Hall itself. The . . 

and on the surface are seen the lUiine daughten, who seize the Ring from the 
Hagtn, who has been anxiously watching, now rushes into the waters, crying: "The Ring is 
mine!" The nympha seize him and drag him down in the flood. An increasing led glow 
is seen in the alcy. and Valhalla appears in flames, with the gods and heroes calmly await- 
ing their doom. As the flames envelop all, the curtain falls. 



DOUBLE-FACED GdTTERDAMMERONG RECORDS 





GRISELIDIS 

OPERATIC MIRACLE PLAY IN THREE ACTS AND A PROLOGUE 

Poem by Armand Sylveiter and Eugene Morand. Music by MaweneL Firrt pro- 
duction. Opita Comiqat. Paris. November 20. 1901. with Mme. Lucienna Breval. First 
production in America at the Manhattan Opera Houk, New York. January 19. 1910. 

Character* 

GRISEUDIS, wife of the Marquii Soprano 

FlAMlNA. the Devil's wife Soprano 

BeRTRADE Soprano 

The Marquis de Saluces Baritone 

Alain, a shephetd Tenor 

The Devil Baritone 

The Prior Baritone 

GONDEBAUD Baritone 

Sctnt and Period: Prootnct. France; ihe ihlrleenlh century. 

Griiillda is based on a modem "mystery" which was produced by Armand Sylvester 
and Eugene Morand at the Comedle Franfoii in IS91. In this play the author gave a much 
changed version al a legend, Patlcnl Griael, which has had a place in European literature 
since the eleventh century. It is one of the stories that Boccaccio tells in his Decameron, and 
the same tale has been used by Chaucer in his Canlerbary Talei. 

principal theme being true love and faithfulness. The opera opens with a Prologue, occur- 
ri-ig in the forest of Provence. The Marquis de Saluces. lord of the region, while walking 
along the forest edge, meets the young and beautiful Gris^lldls. He falls deeply in love 
with her and asks her to be his wife, whereupon she replies that she is his slave and must 
obey hia will. Together they depart for the chateau of the Marquis, leaving the poor 
shepherd, Ati^n, who is also in love with CtiUUdlt, bewailing the fate which has robbed 
him of his sweetheart. 



VICTOR BOOK OF THE OPERA — GRIS^LIDIS 



A year elapaea, and in Act ] we aee the Marqula about la depart (or the war asainst the 
Saracens, The acene showi the inside of the Chateau ; in the backgrDUnd a tript3rch open, 
with an image oE St. Agnes holding in her arms a white lamb, and at her feet an image of 
the Dtcll. The Margali expretses his great love (or his wi(e, and says that he would be 
willing to swear in the presence of the Dtoll himseK that she would always be (aith(ul and 
true. Suddenly the stone image o( the Dealt comes to li(e, bounds on the stage and offers 
to wager the Mai^lt that during his absence at the wars Griailldii will break her vows of 
faithfulness. At first the Majquli spurns the wager, but finally accepts and gives the Deotl 



The latter \i 



ivitk ber 



his wedding ring to show his absolute trust in Grlj^lJli. 
little son, Lof/a, aa her husband departs (or the war. 

Act II shows the terrace 
o( the Casde. The Dcell in- 
duces his wife. Fiamina, to 
join him in his wicked plans 
to tempt GriUUdli, and they 
appear at the Castle dis. 
guised as a Levantine mer- 
chant and a Moorish slave. 
The merchant (DeriO teUs 
GriiibdU that her husband 
bought the slave from him 
in the Orient, being greatly 
attracted by her charms, and 
tells her that her husband 
commands that the slave be 
installed as mistress o( the 
Chateau. As proo( o( the 
truth of his statement he 
shows CrititlJli the Manp^' 
wedding ring, and she sub- 
missively declares that she 
will obey her husband's or- 
ders. This acquiescence is 
contrary to the Dcnll't ex- 
pectations, and in conatema- 
tion he now has his Eoti 
SfiltlU bring Alain to the 
Castle, hoping to leropt 
Grli^lJli to fly with the shepherd, who still loves her; but little Loj/i appears just in time to 
save his mother when her resistance is weakening. As Alain rushes away, in despair, the 
£>e0j/ suddenly appears, seizes Loju and disappears, and the act ends with a wild search for 
the child. 

The third act shows the interior of the Chateau with the triptych as in Act I. The DtBll 
again appears to Grliilldla, this time disguised as an old man. He tells her that Loyi has 
been kidnapped by a pirate, who demands a kiss from Griiilldli in return for surrendering 
her child. Mother love forces her to yield, and she starts for the harbor. Tlic Marqula 
comes home from the wars and the Dtdl tells him Gris^llJla has gone to keep a rendezvous 
with her lover, but the Maiqala refuses to believe these accusations against his wife. 
GrltillJlt returns and tells the Margult o( the kidnapping o( little Loirs, and they pray that 
help may be given them to fight the powers o( evil. Whereupon the cross on the altar 
is turned into a flaming sword, and when GrisHidh prays to St Agnes that her son be 
restored to her, there is a flash of fighming. a clap of thunder and the triptych opens, 
reveahng the image o( St. Agnes holding in her arms, not the white lamb, but the child 
Lost- A glad pealing of bells can be heard as the Manpila and Crii^ldli, with their child 
between them, are happily reunited. 

The Victor offers here a very fine record o( the air OiWra-OKa tut man fnml, which 
occurs at the beginning of the opera. It is the song o( the shepherd Alain, telling of his 
love for the maiden, CrIUlldit. 

Ouvres-vous sur tnon front, portea du Paradise t (Open 
Kow to "My Eyes, Portals of Paradise I) 

By Charles Dalmores. Tenor (/n French) S639T 12-inch, »3.00 




■,/ 


If 






1/ '^■> 


i^ii 



OPERA IN FIVE ACTS 



Cait 

Hamlet Baritone 

Claudius, King of Denmark Ba» 

Laertes. Poloniu* aon Tenor 

Ghost of (he dead King Baa* 

POLONIUS, Chancellor Bau 

Gertrude, Hamlet's mother. Queen of Denmark Mezzo-Soprano 

OPHEUA, daughter of Polonius Soprano 

Lorda. L^diea, Officers. Pagei, Peaunta, etc. 

Scene : Elslnort, In Denmark- 

The atory of HamUt, Prince 0/ Denmark. >* » well known that it would leem hardly 
necesanry to describe the plot at any length. However, for operatic purposes the librettists 
were obliged to modify and reconstruct certain portions of the tragedy, and the revised ver- 
sion will be briefly sketched here. 

The present King of Denmarlc. ClauJlia, has seized the throne, after having murdered 
the late King. HamltCs father. At the opening of the opera Hamltl knows nothing of the 
murder, but is highly incensed at his mother for having married Ctaudlui before she had 
been two months a widow. 

ACT I 

SCENE \~A Room of State In the Palace 
The new Queen is being presented to the Court at a public reception. She is annoyed 
because Hamlcl shows his displeasure by absenting himself from the ceremony. After (he 
over, Hamltl enters slowly, in a melancholy mood. 



•Frailty," thy "name 
litter musing is interrupte 
tl intends (o leave (he kini 



trrupted by the en(rance of OfhtSla, his betrothed. She has heard 
that Hamlel intends (o leave (he kingdom and aaks if he has ceased (o love her. In the beautiful 
lore duet he reaasuras her. and tella her why the palace has become Intolerable to him. 



VICTOR BOOK OF THE OPERA-THOMAS' HAMLET 




Nega se puoi la luce (Love Duet) 

By Maria Calvaoy. Soprano, and Tina 

Rufib. Baritone On Italian) 92900 12.inch, *4.00 



f of Ihy m 



SCX.NE ll~E,planaJt of ifK Palace. Il h Night 
Horalio and Marcdlai Bre discovered excitedly diacuuins the 
appeerance of the ipectre of the murdered Kiag. They greet Hamlet 
BENAUD AS HAMLET gnd tell him of iho ghoitly vintor. which appeared ju»t at mid- 
night. Hamltl is much affected, and suggests that as It i* nearly 
twelve the ghost may come again. 

The dock striket. and (he (iKUre of the murdered King appean. Hamlet ipeaks to the 



Hah 



y haplesi 



Tell me why Ibc »pulchre, 
The ghost motions Horalio and 
Marcdlai to withdraw, and when they 
are gone he tells Hamltl of the murder 
and bids him become the avenger, but 
ask. him to leave his mothers pun- 
ishment to Cod. Hamlet is much 
affected and exclaims : 



Um 



Shade revered! 
shall be done, 
3 light, O sun, O glory 



Thy bid. 



The ghost, before disappearing, 
pauses at the back of the stage, and 
stands with one hand extended toward 
Hamlet: at this moment Horalio and 
MarceUui re-enter, and appear terror- 
stricken at the spectacle before them. 

,e curtain faluT"^ 
ACT II 
SCENE— GorAn of ihe Palace 

O/ihelia enters and is much dis- 

urbed because Hamlet seems to avoid »• 




VICTOR BOOK OF THE OPER A— TH OM A S' HAMLET 

her. The Queen find* her weeping, and aflet queationing her aays that Hamltt has also 
acted strangely toward hi« mothet and Eean his reason ia affected. 

HamttI, seeking to entrap the King in some manner into betraying himaelf, has engaged 
a troupe of players to present a play which shall enact a similar crime. The King and 
Queen are delighted that he aeems to seek amuasment, and gladly accept his invitation to 
witneM the play. 




When the royal pair have departed, the players cor 
in the plot he has conceived. The Prince then calls for 
offering to sing them a drinking song. 

O via, discaccia la triatezza (Brindisi) (^^ine. This Gloom Dispel) 

By Emilio de Gogoria, Baritone {In Frrnch) 86180 12-ioeh. tS.OO 

By Tim Ruffo, Biritone, and La Scsia Choru* {Uallan) 92037 12-inch. 3.00 
By FranccMO Cicada. Baritone, and La Scala Chorus 

{In Uatian) *16572 lO-inch. .79 
Hamlet: We'll laugh and drink while ycl »<; may. 

O winei the gloom dljpcl. Each. alas, his burthen hear% 

That o'er my heail now weighs; Sad Ihoughta have all ^— grim Ihoughls and 



The 



K shoit, dealh's near al hand. iThi cuHain fallt on a itcne oj mrrn'mrnl.) 

SCENE 11 — TAe Paiact Hall. On one ildt a tlage haa bten treeltJ 

Old the play begins. Hamlel placing himself where he can watch 



the King closely. Aa the action proceeds the guilty man shows unmistakable e 
agitation, and finally in a rage he orders the players away. Hamlet rushes forward and 
denounces the murderer, but the Court believes his accusation to be the ravinga of a mad- 
man, and all leave the room as he faints in Horallo'i arms. 
ACT III 
SCENE— The Queen -1 AparlmcnU 
Hamlet enters and sings his farewell soliloquy. 

Monologo (Soliloquy) 

ByTitU Rufio, Baritone {In Italian) 92042 12-inch, t3.00 

This is Thomas' splendid setting of the well-known solilonuy and one of the most con- 
spicuous numbers in the opera. Although the librettists took many liberties with Shake. 
speare's drama, they did not venture to alter such a well-known excerpt as this. Ruflo sings 
this famous monologue in a superb manner, delivering it with great dramatic power. 
• DtMtfaai fUcofd—For iiilt tf oppoiiit ,ldc h DOUBLE-FACED HAMLET RECORDS, pate 172. 



VICTOR BOOK OF THE O PE R A— THOMAS' HAMLET 



r: To be, or not U be. that i> tbe qi 
To die. to .il«[i: pcrcbinn to dn 



"Ay! 1. 



be? 




The Queen and OpAeAa enter and plead with Hamlel to 
baniah hii wild inwBiningt. He Kemly rebukes them, advlw» 
Ophtlla to retire to a convent, and accuses his mother of being 
an accomplice. The ghost again appears, visible only to Hamltl, 
bidi him spare hii mother, and slowly diaappean. The Prince 
conducts the Queen to the door, urging hei to pray and repent. 
ACT IV 
A rural $cem near a lake. tVllIimt line the ihort 

Ophdia, driven insane by Hamlel'i desertion of her, ha* 
wandered to the lake. She plays with a garland of flowers, 
and sing* her wonderful aria, usually known as the Mad Stent, 
one of the most difficult of all florid compositions. 

Ballata d'Ofelia (Mad Scene) 

By Nellie Melb* (In Frtneh) S82S1 12-iach, 13.00 
By Maria Galvany (/n/faAon) 8823S 12.u)ch, 3.00 . 
ByGiUMppiiuHufuet(/(iinan)*39180 12-inch. US i 
An exquisite introduction by the orcheatra is heard as 
Ophelia enters — a strange, wild figure, with flowing hair and ,,„._ ^^^^^^ 
lorn white dress. She speaks to the wondering peasants and iuffo «i ha' 

tetU them childishly of the lark which abe heard at dawn, fol- 
lowing with a brilliant display of bird-like trills and ■ 

Ophtlla then turns to the shepherds and asks them to listen 

._ her song, a strange, sad melody, which is interrupted at 

I intervals by wild laughter and weeping. Presently she seems 

to forget, and placidly plays with her flowers, until the magical 

I siren's song is heard luring her to the water's edge, and she 

I plunges in and (loata away, ainging of Homlel't vow of love. 

Mme. Melba fairly surpasses herself in this scene, with its 
I sudden alternations of joy and sorrow, the pathos which over- 
Other fine renditions, that of Mme. Galvany and a popular- 
I priced one by Mme. Huguet, are also offered to opera-lovers. 
ACT V— The Churchyard 
Hamlel comes hither to attend the funeral of Ophelia. He 
sings his beautiful song to her memory and resolves to take his 
own life upon her grave. 

Come il rotnito fior (As a Lovely Flower) 
By Tins Ruflb. Baritone, and La Scila Chorus 

(/i> Ilaliani 92064 12-inch. t3.00 
f ALvi .s oFHBiiA By Eorico Pitfnataro. Baritone 

(Inllallan) •63424 10-incb, .79 
When the cortege has arrived, the ghost again appears and looks reproachfully on Hamlel, 
who stabs the King, and as the curtain falls the people, now convinced of their monarch's 
guilt, acclaim HamUl as hU successor. 

DOUBLE-FACED HAMLET RECORDS 

l^^"i°^?'" (M.dSc«e) By Hujuet, Soprano (^afl<,«)l35,g„ I2-ineh. ,1.25 
I Dinarah — Si, carina caprclllna By Glutepplna Huguel, Sopram) 

/Brindisi By Francesco CitfsdJi and Chorus (In /(aftan)i , , .,_ ,„ . ^. ,. 

\ Emanl-Fetia da hallo By, U Scala Chonu (/n /toftan)/ lO-^ch. .75 

iCome il romito fior By Enrico Pifnatsro (/" ''"^'""Jlt.ij.-j j in_;„„i, t* 

1 Palbde Mammole-RomanMa Bg UtUn de Ca,a, (/n /(a/tor.) f""* 10-inch. .75 





(Genua) 

HANSEL UND GRETEL 

{Hah/ -ml ootuh Gia^-ut) 
(lulUs) (Enfluh) 

NINO E RITA HANSEL AND GRETEL 

(Necn-M a, Rm'-Uh) iHm-wcl aaJ Gra^Jtli 

(or HANS AND GRETCHEN) 

SA FAIRY OPERA IN THREE ACTS 
Text by Adelheid Wette. Muaic by Engelbert Humperdinclt, 
Fi™i produced 1893, at Weinmr. Firal American perfoimBiice at 
the Metropolitan Opera House, New York, IS9S. 
C»« 
Peter, a broom-maker Baritone 
Gertrude, hU wife Mezzo-Soprano 
HANSEU 1.1 ■ .■,. (Mezzo-Soprano 
GRETEU } """^ '=^"""'' \ Soprano 
The Witch who eati children. Mezzo-Soprano 
SANDMAN, the Sleep Fairy Soprano 
DEWMAN. the Dawn Fairy Soprano 
It ii now aome aeventeen years aince Humperdinck'i lovely faiiy 
■iiiuL •■■■iu opera was brought out in America by Augustin Daly, and it ha* 
HuuFEBDiNCK (Ince been firmly established in the repertoire of every producer of 

■rand opera. 
FUiniel and Cretel has been called the Peter Pan of grand opera; the audiences 
who witness it being invariably delighted with the childish joyousness and (airy charm of 
Humperdinck's work. 



VICTOR BOOK OF THE OPERA— HANSEL AND GRETEL 



12-iilch, *1.00 




This delightful opera is built upon the limple Grimm tale oF 
Batet In tht Woodt, and firit suggeatec] itself to the composer to 
amuae his Biater'i children. It was afterward elaborated into a 
complete opera, which has become one of the most important and 
intercBting of modern German worlu. 

Two German peasant children. Ham and Crelchen, are tent to 
the woods for atrawberriea and get lost. The Sandman finds the 
babes and sings them to sleep, while angels and fairiea watch over 
them. They are awakened by the Dew Man, and go for breakfast 
to Ihe house of the Witch, who plana lo eat them : but when she 
opens the oven to see if it is hot enough to cook Hans, she herself 
1* pushed in hy Grelchai. 

Several numbers from this interesting opera are presented here, 
— the first being the beautiful Prelude. 

Prelude to Hansel and Gretel 

By Arthtic Pryor's Band 91853 

This Prelude is an especially beautiful number. It opens with 
the Proyet of the Chiidien, played by the brass — -at first softly, then 
swelling to the full strength of the band. This is followed by a 
passage portraying morning in the forest, and upon this pastoral com •mi -iinoM 
scene there breaks in rudely the Hocua pocui, at IVflcha molivt. alte.n as gibtfl 

The Prelude is brought to a close with a return of the Prayer Ihtmt, 

The delicacy and charm of this music is well brought oul by the band under Mr. 
Prjror's maaterly baton. 

ACT I 

The scene is laid in the house of Peter, where the two children are busily working 
— //dnwf making brooms and Citlet knitting a stocking. Gretei begins the old German folk- 
song, "Susie, What is the News?" with its nonsense about the geese going barefoot because 
of their lack of shoes. Hamel, thinking more of his stomach than of the feet of the geese, 
sisks when they are likely lo have something to eat. Little Gretel reproves him for making 
a fuss about something which cannot be 

Suse.liebe Suae (Little Susie!) 

By Alma Gtuek. Soprano, and 

Louise Homer. Contralto 

(in German) 86416 12-iach. *3.00 

Peter now returns to his cottage and 
linds the children gone after strawberries. 

In this air he frightens his wife by 
telling of the witch who lives in a honey- 
cake house, and who after enticing little 
children into it, bakes them into ginger- 
bread in her oven. 

Eine Hex' steinalt (The 
Old W^itch) 

By Otto Goritz, Baritone 
{In German) 64164 10-ineh, »1.00 

Mr. Goritz' B admirable character 
study as Peter, the tipsy, kind-hearted 
and auperslilious father, was one of the 
features of the Metropolitan revival, and 
this odd number is given by him with 
much effectiveness. 




VICTOR BOOK OF THE OPERA— HANSEL AND GRETEL 




e gingerbread fence, when (he 



ACT II 

Thia scene showa the depths of 
the forest, into which the children have 
wandered, //dnic/picka berries while 
Qretcl weaves sailands of flowers. 
Darkness soon comes, and the children 
are frightened and cling together. A 
little gray mon, the Sandman, or Sleep 
Fairy, strews sand in their eyca aa he 
ainga hia air. 

Oer kleine Sandmann bin 
ich (I Am the Sleep 
Fairy) 

By Gluck and Homer {In 
Geiman) 88419 12-iach. (3.00 
The children slumber, and as the 
curtain falls angels are seen keeping 
guard over them. 

ACT HI 
The curtain rises, showing Hsntti 
and G'-etd still asleep in the wood. 
The Dawn Fairy shakes dewdrops on 
the children and wakes them )uat as 
the mist clears away, revealing the 
house of the mich. 

The children approach cautiously and begin to nibble ai 
mich comes out and casts a spell over them. 

Hexenritt und Knusperw^alzer (Witch's Dance) 

By Alma Gluck and Louise Homer {In German) 67131 lO-inch. tlAM 

She makes ■ good fire in the stove for the purpose of roaaling the babes, and in her 
joy she rides wildly around 
the room on a broomatick, 
singing this unique Hexenritt, 

The duet begins with the 
soliloquy of the WUch as she 
sees Gretet peeping into the 
oven, and prepares to push 
her in to be baked into magic 
gingerbread. The second part 
of the duet is the portion 
called the -Witch-. Waltz." 
and is sung and danced by 
Hamtl and Grelel after the 
wicked Witch ha. been pushed 
into the oven. They dance 
around the room, wild with 
joy, and then prepare to eat 
their fill of the good things 
stored in the Witch's bouse. 

After the death of the 
Witch the gingerbread chil- 
dren come to life and thsaik 
the children for releasing them 
from the spell. The father and 
mother of HSmd and Greitl 
now arrive and embrace the 
children as the curtain faUs. 





HERODIADE 

OPERA IN FIVE ACTS 

Words by Paul Milliet and Henii Cr^mont, baaed on Cuatave Flaubert's novelette. 
■jodtat. Music by Jules Massenet. First production December 19, 1881, at the Thditrt 
de la Monnait. BruaKls. Produced in Paiia at the Th^ln Italian. February I. 1664. with 
Jean and Eduard de Roizke, MaureU Tremelli and Devriis. Revived at the TMdlit dt la 
QaUi in 1903, with Calvi and Renaud. First German production in Hamburg, 1683. with 
Sucher. Ktbuh and Winkelmann. Pint London production 1904, under the title Salomt, 
with the locale chtinged to Ethiopia by the British censor's orders. First American produc- 
tion at the Manhattan Opera House. New York, November 8. 1909, with Cavalieri. Gerville- 
R6ache. Duchesne. Dalmores and Renaud. 

CAST 
John the Prophet Tenor 

Herod, King of Galilee Baritone 

PHANUEL. a young Jew Bass 

VlTELLIUS, a E^man proconsul Baritone 

The High Priest Baritone 

A Voice in the Temple Bas* 

Salome Soprano 

Contralto 



Merchants. Hebrew Soldiers, Roman Soldiers, Priests, Levites. Temple 

Servitors. Seamen. Scribes, Pharisees, Galileans, Samaritansi 

Sadducees, Ethiopians, Nubians, Arabs, Romans. 



Tht action ial(ei piatt In Jen 



aboal 30 A. D. 




VICT OR BOOK OF THE OPERA— MASSENET'S HERO DIADE 

Herodiade waa first protluced in Bruueli in 1661. 
The liiBt Paris production of this opera waa eapecially 
interesting because of the first appearance of Jean de 
ReKtke >■ a tenor (he was formerly a baritone). Il waa 
not until 1904, however, that the opera was brought 
out in London (under the title of Salome) with Mme. 
Calv6, DalmoreaandRenaud in the leading rales. Mr. 
Hammeratein's brilliant production of this work waa 
one of the events of a recent season at the Manhattan. 

The opera contains much of the beat music 
Massenet has written; and the plot, while based on 
the well-known Scriptural story, does not follow the 
" " ' '- - y closely, differing quite largely 

ACT I 

SCENE— Cbur* o/HcnJ'i Palact ol/tm»alan 

Salomt enters and is greeted by Phamitl, a young 

Jew. who is astonUhed that she ahould be in the Palace, 

and wonders if she can be ignorant of the fact that 

Hcrodlai is her mother. Salome tells him she is seeking 

John Iht Piophel, and in this air she describes how 

he had saved her from the desert when a child, and 

""' ' ' "'' "_ J , „ JL how good and kind he is. 

II eat doux. il est boa (He ia Kind, He is 

Good) By EmnuL CiWi (Fitnch) B8130 12-ia.. *9.00 
Salome goes out just as Htrod enters searching for her. 
Htrodlat rushes in and demands John's head, saying that he 
had insulted her. John appears, denounces them both and 
drives them out, terrified. Salome enters and tells /oAn of har 
love for him. but he bids her turn to God. 
ACT II 
SCENE— WeroJj ChanAet 
Htrod lies on his luxurious couch, while attendants sing to 
him. He can think of no one but Salomt, and bids the slaves 
dance to distract his mind. A love potion is given him by a 
slave, who says it will make him see the face of the one he lovea. 
He then sings the famous Ki'ijon fugitlOt. considered the 
moat beautiful of the airs in the opera. 

Vision fugitive (Fleeting Vision) 

By Emilio dc Gogorzi. Baritone »■ 

{In French) 88153 12-inch. »3.00 o. 

Hemd describes the vision 
if Salome which haunts him 
ight and day, and declares that 
. possess her he would gladly 
irrender his soul. He drinks 
e potion, and falls on the 



ceiving messages from the allies, 
anddenouncingRome. Herodlai 
enters and announces that the 





VICTOR BOOK OF THE OPERA— MASSENET'S HiRODIADE 

Roman general, yitelllaa, ia approaching. The people ace terrified, but KMe///uj declares that 
Elome deair« the {avor of the Jew* and will give back the Temple ot lirael. 

John and Salome enter and yiletllui ia aurpriaed at the honor paid to the Ptophel. 
Htmd gazes with eyei of love at Salomt, while Hetadiia watches her jealously. John 
denounces Vlttilhis as the curtain falU. 

ACT III 

SCENE \—Phanutt; Hou,€ 
Phanaet ia disclosed gBzing at the city, which lies silent under a starry sky, and 
prophesying the late which is to overwhelm it. 

Air de Phanuel (Oh, Shining Stars) 

By Marcel Journet. Bass (fn French) 74192 ll-inch. *1.90 

0He calls upon the stars to tell him what 
manner of man ii this John, who speaks with 
such authority. "Is he a man or a god?" he 
cries. Htrodiiu enters, much agitated, Phanuei 
inquire! what haa brought the Queen to his 
house, and she cries, "Vengeance on the woman 
who has stolen Hood's love[" He reads her 
fate by the stars, and sees nothing but blood 
in the horoscope. She aakshim about herchild, 
lost BO long ago, and he takes her to the window 
and shows her Salome, who ia just entering the 
Temple, Horrified, Hrmdiat cries, " My daush- 
tar? Never[ That ia my rival I " 
SCENE ll—hnerCourioflht TtmpU 
The second scene showa the entrance of 
tha Temple. Sulomt enters half fainting, havisK 
heard that John haa been cast in prison, and 
falls exhauated at the prison entrance. Htrod 
enters, and seeing SoJonM, breaks out into a mad 
declaration of his love, but ahe repulses him 
with horror, and tells him she lovea another. 
He declarea he will find this lover and kill him, 
and goes out aa the people enter the Temple. 
John is brought in and denounced by the 
„,„,„„„ priests, but praya for them as they demand 

DUrtANBi AS FHANUEL "" *''"'''■ Salomc runs to John and falls at his 

feet, wishing to die with him. Herod, seeing 
that it is John whom Salome loves, ordera them both put to death, and they are seized and 
borne out by guards as the curtain falls. 

ACT IV 

SCENE [—Prison Cell In Ihe Ttmpit 
John and Salome are here seen in prison. John admits that he loves the young girl, and 
urgea her to fly and save her life, but she refuses, declaring she will die with him. Priests 
appear and oiAm John to death, and command Salome to be taken to the Palace by Haod'i 
commands. She resists desperately, but is dragged away. 

SCENE l\—Qrtal Hell in the Temple 
The great festival in honor of the Roman Empire is in progress. Salome is brought in 
and again entreats to be allowed to die with John. She appeals to the Queen, saying, 
"U thou wert ever a mother, pity me." Herodlea trembles at the word, and gazing on 
her daughter, seems about to yield, when the executioner appears at the back with a 
dripping sword and cries, "The Prophel is dead." Salome gives a terrible cry and tries to 
kill the Queen, who screams : "Mercy! 1 am thy motherl " 5a/aine recoils in horror, curses 
her mother and slabs herself. 

(Curtain) 





ri 


r'iiiii 


Ml I 


i. ■It 



LES HUGUENOTS DIE HUGENOTTEN 

(Itnliu) <En(lub) 

GLI UGONOTTI THE HUGUENOTS 

IGlcc Oo-toh-nofjlli) fHtti-ltn^hil 

OPERA IN FIVE ACTS 
Libretto by Scribe and Cjnile Deachamps. Score by Giacomo Meyerbeer. First pre- 
sented at the Acadtmie in Parii, February 29. 1S36. First London production in German in 
1842 and in Italian July 20. 1846. Firat New York performance June 24, 1630. Somenotable 
American productions were in 1858, with La Grange. Siedenburg. Tiberini and Karl Formes: 
in 1872, with Parepa-Roia, Wachtel and Santley; in 1873, with Nilsson. Gary. Campaninl 
and del Puente; in 1892. with Montariol, de Reszke. Lasalle. Albani and Scalchi: in 190S. 
with Sembrich, Caruso. Walker, Plan^on. Scotti and Joumet; in 1907, with Nordica. Nielsen, 
Constantino and de Segurola; and the Manhattan production ia 1906, with Pinkert, Russ, 
Bassi, Ancona and Arimondi. 

Cist 

Count of St. BRIS, iSah &«') 1 r- .. ,■ .i / Baritone 

Count of NEVERS, {Nr,^i„') l *-■"""■= '"">len""> \ Baritone 

RAOUL de NANGIS. (Rah-oof <j« Wan-iAce') a Protestant gentleman Tenor 

MARCEU (Mahr^her) a Huguenot soldier and servant (o Raoul Bass 

Margaret of VALOIS. {Vil-eoal,') betrothed to Henry IV Soprano 

Valentine, daughter o( Sl. Brts Soprano 

URBANO, {Ur^h' .nah) page to Queen Margaret Meno-Soprano 

Ladies and Gentlemen of the Court, Pages. Citizens, Soldiers. Students, etc. 

Scott and Period : T^uralnt and Paris ; during ifit month af Auguil, 1572. 



VICTOR BOOK OF THE OPER A— T HE HUGUENOTS 

This opera is considered the composer's masterpiece, and is indeed a wonderfully 
imposing work, with its splendid scenes, beautiful arias and concerted numbers, and its 
thrilling dramatic situations. The romance as well as the fanaticism of the period are 
faithfully pictured, and the whole presented on a magnificent scale. The work, however, 
is undeniably too long for a single evening's performance, requiring fully five hours when 
given entire; and it is to be regretted that some courageous impresario does not prune 
and pare it until it becomes of reasonable length. The Victor, however, has been merciful, 
and has selected only the gems of the work, which have been given by a fine cast headed 
by Caruso. 

The story relates to one of the most dramatic periods in French history, and tells of the 
massacre of Huguenots in 1372, and of the efforts of Margaret of Valois, the betrothed of 
Henry IV, to reconcile the disputes between the Protestants and the Catholics. 

ACT I 

SCENE I — House of the Count of Neoers 

'The overture is a short one and consists mainly of the Lutheran chorale, which occurs 
several times in various portions of the opera. The curtain rises, disclosing a magnificent 
salon in the house of Neoers, where a gay party of Catholic noblemen are feasting. The 
Count explains that he expects another guest, a Huguenot, whom he hopes they will treat 
with courtesy. Raoul arrives and makes a favorable impression on the guests. Nevers 
toasts the ladies, proposing that each relate an adventure with some fair one; Raoul, 
being the latest arrival, is called upon first, and describes his rescue of an unknown beauty 
(who proves afterward to be Valentine, St. Bris' daughter^ from some drunken revelers. 
In this air he tells of her beauty and the deep impression she made on him. 

Piu bianca — Rotnanza (Fairer Than the Lily) 

By Enrico Caruso, Tenor {In Italian) 88210 12-inch, $3.0O 

By M. Gautier, Tenor (/n French) *45007 10-inch, 1.00 

Caruso makes a manly picture as the young nobleman, and sings the music allotted to 
Raoul charmingly, especially this delicate Romanza, in which he describes the vision of the 
unknown with whom he has fallen in love. In dreamy tones he sings the recitative, after 
which a short introduction brings us to the romanza, beginning 



Ormtiam. 




PIft Man - ck, del pi^ Man -co vc lo. 

/Wr - *r far r'en than fair ' est ht y 

Nothing could be more tender and beautiful than Caruso's singing of this number. 

Raoul: 

Fairer far e'en than fairest lily, And in her eyes the love-light gleamed, 
Than spring morn more pure and more lovely Bidding me hope her love to gain. 

and Bright, Oh! she was cnarming past all expression! 

An angel of Heaven born beauty And as before her form divine I bent my 

Burst upon my ravish'd sight. knee. 

Sweetly she smiled as I stood by her side, I falter'd forth, "Fair angel, that cometh 

Sighing the love which e'en her tongue to from Ileav'n above, 

speak denied; For evermore shail I love none but thee I 

A French rendition by M. Gautier, of the Paris Op£ra, is offered at a popular price, and 
the record is a most excellent one. 

The applause which greets this recital is interrupted by the entrance of Marcel, who 

makes no secret of his displeasure at seeing his master dining with Romanists. Raoul 

apologizes, begging indulgence for an old soldier and faithful servant who loves him, and 

the guests call on Marcel for a song. The grim soldier offers to sing an old Huguenot song 

of W£Utiing both against Rome and the wiles of woman. 

Marcel: 

Sirs, I will; an old Huguenot song against the snares of Rome and the 
dark wiles of woman. You, sirs, should know it well — it is our battle 
song: you heard it at Rochelle. for there 'twas sung, *mid the din of 
drums and trumpets; with a full accompaniment — pift, pafF, piflF, paff, — 
of bullets from our ranks, thus out it rang: 

*Doubk-FaceJ Record — See page 186. 

181 



9 OOK OF THE OPE 



I A— T HE HUGUENOTS 




Piff! PaffI (Marcel's Air) 

By Marcel Journet. Ban 

iln French) T4I56 12-inch. (LSO 







fair! 





























All vainly fat aid 
No pily lot Ibcml 



, 'j^J^ »?^ii 



iff, paff. pi«, n»ff: 



Ko 



y all; ■ 



■111 



Joumet'a portrBya] o( the grim, Hubbom old serv- 
ant ia a very fine one. and hia rendition of the Pfg, Paff ia remarkable in its rugKed force 
and Item aimplicily. 

A servant of Naiers announces a veiled lady to see him and he retires to an adjoining 
room. Raoal catches sight of the lady through the window aa she lifts her veil, and is 
astonished and grieved to recognize the beauty he had saved from the ruffians. 

A young page now enters, and in a lovely air, familiarly called the Page Song, 
« that she has a message for one of the cavaliers present. 



'Nobil Si^nori salute I (Noble Sirs, I Salute You) 

By Louise Homer, Contralto {In Italian) 6910? U-inch, *3.00 

This gay and brilliant cavatina is considered one of the most difficult of contralto num- 
bers. It begins with a long and very omametital cadenza, followed by this graceful melody; 



worked up with much spirit and reintroduced after a striking series of vocal figures sung 
on the word "no." Mme. Homer's execution of this florid air eidiibits well the great flexi. 
bility of her fine voice. 

Meyerbeer intended this part for soprano, but it is usually transposed and sung by a 
contralto. 



Umax 



noble Isily. 



The note proves to be for Raoal, and bids him consent to come blindfolded in a 
carriage, without question, to wherever his guide will take him. The young man is puzzled 
but decides to obey, and shows the note to the others. They recognize the seal of Margaret 
of Valoli, and cast looks of envy at him as he follows the page. 



VICTOR BOOK OF THE OPER A— T HE HUGUENOTS 



ACT II 

SCENE~C<ul/e and Gardens of Chtaona. 
■ ceated on a kind of throne aurrounded by hi 
Iter toilel. She rise* and aings her 
ereal air in praise of fair Touraine. 

O, vit{fo suol della Turenna (Fair 
Land of Touraine) 

By Maria Galviny. Soprano 

tin Italian) 88234 12-inch. *3.00 
By Frieda Hempel. Soprano 

(/n French) 88382 12-iDch, 3.00 
By Giuaeppini Hutfuet. Soprano 

(/n haUan) •3S123 13-inch. 1.25 



ycly 



ind.of f: 



Eft'cn banks 




j Ihy murn, 














:Z 


by war be s 














kr k.""i'.' v^n 


■'V 


t.r. f.r aw 



Thai'* 



o the Klrain 




The maids ditperae. and VaUntlne entera and tells the Queen that the haa Been the 
tint de Nevers, who has promised to releaae her From the enga^ment which had been 
ranged. Margartl inform* her that she has another cavaher in mind— meaning Raoal, 
\o is now conducted lo ihe ladies and his mask removed. He is much astonished to Bnd 
the Queen who has sent for him, and pledges 



t-Ie does not, howeTG 




Valentlnt. who has retired at the moment of his entrance, 
c nobles of the Court. ProtesCanl and Catholic, now enter, 
been aeni for by Maigattt. She announces that the Is 
K a marriage which shall reconcile all their diferences, and 
em to swear to live in peace with each other, f^oul, 
■.n, St. Bris and the nobles gather around the Queen and lake 



,th. 

VaUnlInt is i 

ilarts in asto 

:ued, and whom 



3w led in by her father and presented to Raaal. 
ishmeni, having recognized the lady he had rea. 
he had seen meeting Nevtn. 



k-hat Mrfidy! 



A terrible 



follows. Si. Brit challenging Raaul. who is 
ordered under arrest by the Queen. Valtnllne is overcome with 
shame, and the Catholics are furious. Mara! is delighted that his 
master has escaped marriage with a Catholic and the curtain falls 
as the Lutheran chorale is again heard in the orchestra. 





n oE the ph 



BOOK OF THE OPER A— T HE HUGUENOTS 

ACT III 

SCENE— /I Square In Paris 

Catholic (tudents are aemted 
outiide an inn on the left, while 
opposite some Huguenot sol' 
diers are drinlcinK and playing 
dice. The soldiers sing theii 
famous RBt.B.plan. 

Coro di Soldati 
(Soldiers' Chorus, 
"Rataplan") 

By Metroplitsn Opera 
Chorus (In Italian) 

*450M 10-inch, *1.00 
A wedding processioti pass- 
es on its way to the church; it 
i* For yoUnHnt, who has been 
persuaded to wed Ntoers . 
Valentine asks that she be per- 
mitted to spend the day in the 
chapel in prayer. While there she overhears a plot to assas. 
sinate Raaul, and at once goes in search of Marat to iofon 
him in the square and tells him of the plot. 

Nella notte io sol qui veglio (Here By Night Alone I "Wander) 

By Msria Grisi, Saprano, and Pcrello De Sefurala. Baas 

{In Italian) *&3404 10-inch. *0.T5 

Mated thanlui her for the warning and goes with his friends to the rescue. A general 
conflict is threatened but is prevented by the Queen, who appears just in time. She tells 
Ramil that Valentine is innocent of wrong, having merely gone to Neeers' house to ask him 
to release her. Raoat is overcome with remorse, but the knowledge c 
Valentine is already the wife of Neoen. 

A richly decorated boat approaches, occupied by the nuptial 

suite. Ntota leads Valentine to it. and as all salute the bridal 

couple the boat moves bw». while Raoul, overcome fay grief, 

is supported by Marcel. TTie curtain falls, 

ACT IV 

SCENE—/) Room In Neeer,' Cattle 

Valentine, alone, broods over her sorrows, confessing to her- 
self that although wedded to another, she still loves Raoid. She 
is astounded to see her lover appear, he having braved death 
and entered the castle to see her again. Valenllne hears her 
father's voice, and hastily conceals Raoul behind the tapestry. 
The Catholic nobles enter to discuss the plot outlined bySf. Brii. 
They finally agree to his fiendish propoaaL and swear to slaughter 
the Huguenots. Neeen is honihed at the bloody scheme to 

he breaks his sword, and is led away by the guarda. 

The conference closes with the famous BeneJlctlon a/ the 
Sumrdi, perhaps the greatest and most thrilling of all operatic 
scenes. A magnificent record of this number has been given by 
Joumet and the Opera chorus. 

Benediction of the S'worda 

By Mircel Jouraet, Bass, and Metropolitan 

Opera Chorus (In Italian) T42T» 13-inch. «1.S0 »..•.»•■<.>• 

By Sousa's Band *;9I18 12-inch. 1.29 cn^sTA^TrN>. as >ac.iil 

•'DmAk-FaaJRm-J—Formh efiptetH liJt tm DOUBLBF/ICED HUGUENOTS RECORDS. »« /( 




VICTOR BOOK OF THE OPER A— T HE HUGUENOTS 



The Dumber begin* with the strain ming by St. Brit in his recital o( the plan. 




Then comes the furiou 
aifficult of ensembles. 


s and fanatical chorus of prieati and lord*, one of the most 


All: 

Strike (hem down, men sn 

B? IhV ^rTuiey'VhsIl p 
And their temples be o'er 


d children, all! "^Be silent, mj friends, and breathe not e'en ■ 




Tile nobles having gone, Raoul comes out. horrified at what he 
has heard, and wishes to warn his friends, when yaltnllne, thinking 
to save his life, urgei him to remain, telling him that she loves him. 
In a transport of delight he begins the great duet. 

Dillo ancor (Speak Thoae "Words Again 1) 

By Ida Giacomelli. Soprano, and Gino Martinez. 

Patti. Tenor (In Italian) *35I23 12-inch. (1.29 

Raoul: 

Ah! »av again thou lov'st met 

From darkness drear I have awakened lo bliss! 

Forever now v>Vre uniled. 

Thou hasl link'd thy fate to mine— 



•Dcatb-FaaJ RkotJ—F,, Mk afapptH^ .iJe «• DOUBLEfACED HUGUENOTS RECORDS. «, 



VICTOR BOOK OF THE OPER A— T HE HUGUENOTS 



The sreat bell o( St. Gerroain, the (ikiuI to prepare for the alaushter, is heard toiling, 
and Raoal makea a fresh eSort (a go to the aid of his people. Valmllne clings to him, 
but he rushes Co the window, and shows her that the massacre has already begun; then 
tears hinuelf from her arms and leaps from the window, while she falls fainting. 

In recent productions in America, because of the great length a( Meyerbeer's work, the 
opera has ended with the shooting of Raoal by the mob as he leaps from the window; but 
in the original version a fifth act occurs, in which Neeert is killed, and yaUnllne, renouncing 
her faith, is united by Marctl to Raoal. Si, Bris and hisparty enter the street, and not 
recognizing Valentine, fire upon the three and kill them. The curtain falls as St. Brli dis- 
covers thai he has murdered his daughter. This fmal tragedy is graphically pictured in 
the accompanying reproduction from an old drawing. 

DOUBLE-FACED AND MISCELLANEOUS HUGUENOTS RECORDS 

fenedictioD of the Poignardf By Sousa's Bandl,., , - ,, .. ,, ,< 

Trovato,c-Home lo oJr Mountain. By Morgan- Macdomugh.]^^^^^ 12-mch. .1^5 

iO vaffa suol delta Turenna (Fair Land of Touraine) Hujluetl 
Dillo aocor (Speak Those 'Words Atfain) By Ida ^5123 12-inch, I3.i 

Giacomelli, Soprano, and Gino Martinez-Patii, Tenor | 

jPlua blanche (Fairer Than the Lily) M.Gautier (/nFrencA)! ..„ in_.„-.t. inn 
1 GutllaameTell—JilUHtndltaiK— M.Gautier. Ttnor (/n FrtncA) /**""' lO-incH. I.OO 
Coro di Soldati (Soldiers' Chorus. "Rataplan") 1 

By Metropolitan Opera Chorus (In llallan)\.. . ,n_j„„i, , on 
Magic Rut^O hi> und Mri, (Qreat hi,\ (**"' 10-inch. 1.00 

By Metiapaliian Opera Chena (h Gen7Uin)J 
Nella DOtte io (ol qui vcglio (Here By Ni^ht Alone | 

I 'Waader} By Grisi andSeffurola (In llaban) \b»404 10-inch. .73 

, Lucmla Borgia — Vienl la mla oendella By Clalla Roul, Baai 

HatueaaU— Grand Sdtcllon {PaH of Prelude— Chorm. Act I— \ 
SatltUt, Act lit— Dante Bohtme, Act III— Prelude 

Arthur Pryor*> Band}! 7914 10-inch. .73 
Maaked Ball SelecHan (Part of Ballet Mialc and the Aria. 

• 'Saper vorrale. ' ' Act 111) Vttatlla 't Italian Band] 





I GIOJELLI DELLA MADONNA 
DER SCHMUCk'dER MADONKA 

(Endifh) 

THE JEWELS OF THE MADONNA 

OPERA IN THREE ACTS 
Libretto by C. Zangarini and E. Golisciani ; 
music by Ermnnno Wolf -Ferrari. Firat performed 
aa Dtr ScAmucl^ Ja Madonna at the Kurf uersten- 
oper. Berlin, December 23, 191 1. Firat American 
production at the Auditorium Theatre, Chicago, 
January 12, 1912. FirBt New York performance 
March 5. 1912. 




Characters 

GENNARO, in love with Malielhi Tenor 

MAUELLA, in love with Rafaele Soprano 

RAFAELE, leader of the CammoiiMs Baritone 

CARMELA Soprano 

BIASO Tenor 

ClCaLLO Tenor 

Stella Soprano 

CONCETTA Soprano 

SERENA Soprano 

GRAZIA Dancer 

TOTONNO 

ROCCO Ba«« 

Vendor*, Monka, People of the Streets, etc. 

Time and Place ; The ictne li laid In Napla. 
at the preienl lime. 



VICTOR BOOK OF THE OPERA— JEWELS OF MADONNA 



Few operas of leeent yean have 
met with the unqualilied succeu which 
has been accorded Wolf-Ferreri'i vivid 
melodiama oi Neapolitan life. The 
atory of the opera is the compoaer'a own 
idea, based on actual happenings in the 
squalid, Bupenlitiaus life of the people of 
Naples, feverish with its reckleaa gayety. 
and mingled with sadness and gloom. 
The wild doings of the Cammorists, the 
preparations for (he celebration in honor 
of the Virgin, the pageantry of the Cath- 
olic ceremonial and the wild tumult of 
Neapolitan revelries form the back- 
ground and atmosphere for this realistic 

The plot may be summed up as 
follows: Ma/fe/Za, a wayward Neapolitan 
beauty, is loved by her foster bralher, 
Gainan, a simple, honest lad. but the 
girl is infatuated with the dashing 
Rafath, leader of the Cammorists. 
Rafaele proudly boasts that he ivould 
stop at nothing to prove his love for 
Malldla, declaring he would even steal 
for hei the jewel* which deck the image 
of the Virgin, The young girl, annoyed 
by Qtanan't attentions, taunts him with 
not daring to do for her what Rafaelt 
had offered. Almost in the hope of 
winning her hvorthe poor fellow steals 
to the church at night, aecurcs the 





jewels, and lays them at Mallella'i feet. At 
first she is fascinated by the brilliancy of the 
gems, but as she realizes the awful sacrilege 
Qeanam has committed she flies to Rafatle, 
whom she finds in the inn of the Cammorists. 
He, in a frenzy of iealoun', spurns her. declat' 
ins she has sold herself for the jewels. The 
uiihappy girl drowns herself, and Ctnnam, in 
an abandon of remorse and despair, places the 
jewels on an altar, prays for mercy, and drives 
a dagger into his heart. As the people, bent 
on vengeance, burst into the room, ihey see the 
bodjrof the unfortunate youth lying before the 



jdy ol thi 

ladonna. 

One of the features of the opera is 
beautiful waltz intermezzo between the ser 
and third acts, which has been given he 
delightful fashion by the Victor's fine or) 
zalion, under Mr. Rogers' direction. 

Intermezio 
VicKW Con- 
cert Orchestr 
Afenjf Wloa of 

tan (Nicolat) 
We. " • 



the 




KONIGSKINDER THE KING'S CHILDREN 



Book by EtdM RoBmec {Elm Bernstein). Music by Eneelbert Humperdinck. Pint 

Production in any country December 28. 1910. at the Metropolitan Opera Houbc. New 
ork, with Farrsr, Homer. Jadlowker and Goritz in the caM. The opera hai since been 
given in London and throughout Europe. 



Characters 
The Goose girl Soprano 

The King's Son Tenor 

T^IE Witch Contralto 

The Fiddler Baritone 

The Woodcutter Bas« 

The BROOMMAKER Tenor 

INNKEEPER Ban 

Innkeeper's Daughter Mezzo-Soprano 

Tailor, Stable-maid, Gate-keepers, Citizens, CouiKillors, Musicians. Children, etc. 



The opera of Ksnlgil^lndcr is based on a ihree-act play by Ernst Roatner (in private 
life ElsB Bernstein), with incidental music by Humperdinck. The first production of this 
play look place at Munich. January 23, 1897. and the following year it was given at Irving 
Place Theatre. New York, and four years later in English as Chlldrtn of the King. 

ffumperdinck's opera is allegorical in character, illustrating the stupidity of mankind 
in failing to recognize true loyalty when it appears to them in disguise. It ia a human 
little story, full of pathosi humor and tenderness, and no one could have given it the gentle, 
^mpathetic touch better than Humperdinck. 



VICTOR BOOK OP THE OPERA— THE KING'S CHILDREN 

The story tell* of a Goote 
Girl who livea with an oH 
Wllch in the hiUa above ihe 
town of HelUbrunn. A 

out of the woods and tells the 
Coait Girl of hia wandeiings- 
He is in reality the King', Son. 
but the girl doe* not know 
this. The boy falla in love 
with the beautiful maiden, 
t her to go maying 
with him thiouch the summer 
land. The girl longs to run 
f with him, but finds her 
--et glued to the ground. The 
King'tSon, believing her afraid 
to go, tells her she is unworthy 
to be a king's mate, and leaves 
her, vowing she shall never 
see him again till a star has 
fallen into a lily which is 
blooming nearby. 

The W!kh returns and 

scolds the Cooje Girl for wast- 

The Fiddler enters, (allowed by the Woodcutter and Broommakt' 



■m^ 



ing her time o 



__n the King'' Son, as the King ii 

The Witch tells them that the first 

itter what his seeming social condi- 



. wn, who come to ask the Witch if she V . 
dead and the people want the son to rule in hia place 
person who enters the city gate next day at noon, no m 
tion may be. wiU be crowned King. The Wood- 
aitttrand Broommalttr depart, but the I^ddkt lingers, 
hoping to get a glimpse of the Gooac Girl, who is in 
the huL She appears andtellabim her sorrows, and 
he assures her she shall wed the King'i Son, The 
gill prays that his words may come true, and as 
she kneels a shooting star falls into the heart of 
the lily. She runs off into the woods with her 
llock in search of her lover. 

In Act Jl we see the town of Helkbrumi in an 
uproar, awaiting the new ruler. At the inn near 
the town gates is the King't Son, still in rags. 
Musicians enter and a dance begins. The Cate- 
kt'pt' refuaea to allow the people to crowd in the 
gateway, keeping it clear for the entry of the King. 
The Woodcutter is invited to relate his adventures | 
in the woods, and he says that on the stroke of 
twelve the King's Son will enter the gates. The 
people acoff at the suggestion that their new King 
might come in rags, but as the clock strikes twelve. 
the crowd rushes toward the gates and beholds the 
King'i Son in his rags, and the Gooie Giri, escorted 
by her flock, entering the city. The people, with 
the exception of the Fiddler, who recognizes the 
King'i Son, mock the couple and drive them out 

In 'ac'' III Ihe BdSer. who has been cast out of the town for his defense of the King'i 
Son and the Gook Girl, is seen at the Witch 'i hut. feeding the doves the girl has left behind 
her. He lives here alone, the Wllch having been burned at the stake by the people, who 
declared she had deceived them in her promise of a new ruler. A troop of children come 
to beg the Fiddler to lead them in a search for the lost King'i Son and his sweetheart, and he 
gladly consents. The Woodcutter and the Broommalfer arrive and go into the hut, and hardly 

190 




VICTOR BOOK OF THE OPERA— THE KING'S CHILDREN 

has ihe sound of the sesrchiiis party died awey than the King'a Son and Coote Qr/ appear. 
They are half famished and beg of the WoodcutUr somethinK tn eat, and he finally giveB 
them some poisoned pastry which he finds in ihe hut. The outcasts eat it and die, and 
when the FtddUt and the children return from their useless search (hey can only mournfully 
bear away to the hills for burial the bodies of the poor Ktngly CMldrai. 

KONIGSKINDER RECORDS (In German) 

I Lieber Spielmann (Dearest Fiddler) 

Gerafdine Fariar 86405 12-inch. fS.OO 

Thia is the song of the Broommoiter'j child, who 

I is spokesman for the throng of children who come 

' to the hut in Act [II to beg the FidJUr to lead them 

in • search for the outcasts. 

O du liebheiliee Einfalt du ! (Thou 
Innocent One) 

By Otto Goritz 64184 lO-iach, *1.00 
This islhe/^ji'i'/cr'aanswer to the appeal of the 
children that he go with them in their search for 
the Royal Pair. 

Ihr Kindlein sie sind ((efunden 
(Children, We Have Found Them) 

ByOttoGoritt 14287 12-inch. fl.SO 

Sung by the FIddltr as the searching party 

return to the hut and discover the bodies of the 

CfaW™. 

Weisst noch das groaae Nest (Hast 
Thou Fortfotten Our Nest 7) 

By Geraldine Firrir, Soprano 

88412 12-inch. I3.O0 

Thia puthelic bit occurs in the last act. as the Cooae Giri and Klng't Son, banished from 
the city, wander in the wintry wood, cold and hungry. She recalla to his memory the happy 
days when he wooed her in the leafy bower. 





(French) 

LAKME 

(Lak'-mau) 

OPERA IN THREE ACTS 

Book by Goudinet and Gille, taken from the story Le Manage de Loti. Music by L^o 
Delibes (Deh-leel/). First production Paris, April 14, 1863. First London production at 
the Gaiety Theatre. June 6, 1885. Produced in New York November 28. 1888. 



Characters 

P^^^C, } "*"'" "' *» ^"'"'* """^ '" '"'*" { Irritone 

NiLAKANTHA, a Brahman priest Bass 

Hadji, a Hindoo slave Tenor 

LAKME. daughter of Nilakantha Soprano 

Ellen, daughter of the Governor Soprano 

Rose, her friend Soprano 

Mrs. Benson, governess of the young ladies Mezzo-Soprano 

MALLIKA, slave of Lakm6 Mezzo-Soprano 

A FORTUNE TELLER 

A CHINESE MERCHANT 

A SEPOY 

Hindoos, Men and Women. English Officers and Ladies, Sailors, 
Bayaderes. Chinamen, Musicians. Brahman, etc. 



Scene and Period: India, at the present time. 



The first important American production of this opera, with its graceful music and 
scenes of Oriental splendor, was given by the American Opera Company in 1886, although 
a version was put on by Emma Abbot in 1883. Since then it has had three revivals — the 
Patti production of 1890; that of 1895 for Marie Van Zandt. and the Metropolitan revival 
of 1906-7. The music of the opera is wholly beautiful, and the principal numbers are 
exquisite compositions — lovely in idea and execution. 

The story resembles in some points both Aida and Africaine ; all three are more or less 
Oriental ; Lakfn4, like Aida, loves her country's enemy ; Nilakantha and Neluskp possess simi- 
lar traits ; while Laktni and Selika both poison themselves botanically. 

The Oriental atmosphere is somewhat spoiled by the introduction of the modem and 
somewhat commonplace Elnglish characters, but the romantic ending ajkones for any 
shortcomings. 

ACT I 

SCENE — A Qarden in India 

Nilankatha, Lakmd'a father, hates the English invaders and resists their presence in India. 
Gerald and Frederic, English officers, while sauntering with some English ladies, venture on 
sacred ground near Nilakantha *s temple, and when rebuked they all depart but Gerald, who 
remains to sketch some Oriental jewels which Lakmd had left in the garden. He takes up 
the trinkets and sings his charming air. Idle Fancies. 

Fantaisie aux divins mensonges (Idle Fancies) 

By M. Rocca. Tenor {Chubte-faced— Set page 195) {In French) 16573 10-inch. $0.75 

He is struck with the daintiness and beauty of the gems and tries to picture the 
unknown beauty to whom they belong. 

192 



VICTOR BOOK OF THE OPER A— D ELIBES' LAKM6 




On mossy banks or beds of 
Tbis ncckricc. loo, with h< 



bffds of flowers. 



■TO folding. 



^u[>. Idle Uncx, cradled by delusion, etc. 

{From Ihe Dillon Edilio«.) 

Thi* beautiful bit hat been sung for the Victor by 
B brilliant snd accomplished young teitor, M. Rocca. of 
the Optra Cemlqae. 

Hearing aome one approaching, Gera/i/ hide* himaelf 
in the ahrubbeiy. Lalipii enters and lays flowera at the 
feet of an idol. She is about to go when ahe pauses 
and tries to analyze a strange feeling which has come 
over her, saying : 



Fond lephxra caress my brow. 
And a fragrance that's rare is filling. 
AH my Ktises with a rapture » thrillingl 
She then sings her lirst lovely song, 

Pourquoi dans les grands bois 
(MVfcy Love I Thus to Stray?) 

By Alice Verlet Soprsno 
(DoM^/ao«l—S^ poic 195) 

(In French) 49006 lO-incb, fl.OO 
and asks herself why she loves to wattder in the forest 
and why she is both sad and glad. 



>ng the trees and utters a cry of (ear. Her attendants run 

in, but some mtuition tella her not to reveal Gerald'i presence, and she sends them away. 
Going to his hiding place she denounces him far trespassing on sacred ground, and bids 
him begone. He begs her for a few moments' conversation, and tells her of the ii 
the has made on his heart. 

oughtful. SWMI. unchiding! 



Let b 

Its lily pail 



ing charm 



L<dpn£ looks on the handsome youth with interest but tells him she fears the return of 
her father, who would surely seek vengeance for the Englishman's desecration of holy 
gmund. Gtrald departs just as NllaJ(anlna, summoned by Lakm^'i attendants, enters, and 
seeing traces of a tretpatser, declares that he must die. They go in pursuit of (JaalJ, 
leaving La^mi motionless with (ear. 

193 



VICTOR BOOK OF THE O P E R A— D E L I B E S ' LAKMi 

ACT II 

SCENE— i4 Street in an Indian City 

Act II shows a public square, lined with Chinese and Indian shops and bazaars. Eng- 
lish visitors are strolling about, viewing the scenes with interest. Nilakantha, disguised as a 
beggar, is seeking traces of the intruder, whom he has sworn to kill. Lakmi is with him, 
wearing the dress of a dancing girl. He orders his daughter to sing, hoping that the Eng- 
lishman will recognize her voice and betray himself. She sings the famous Bell Song. 



Ou va la jeune Hindoue (Bell Song) 

By Luisa Tetrazzini, Soprano 
By Bessie Abott, Soprano 
By Maria Galvany, Soprano 
By Ellen Beach Ya'w, Soprano 



{In Italian) 88297 12 -inch, $3.00 

(In French) 88084 12-inch, 3.00 

{In Italian) 88219 12-inch, 3.00 

{In French) 74090 12-inch, 1.50 



Delibes has ingeniously used bells to give character to this 

number, which is a most intricate one, especially in the refrain, 

where voice, woodwind and bells blend with many charming 

touches. 

Lakme: 

Down tlfcre, where shades more deep are 

glooming, 
What trav ler's that, alone, astray ? 
Around him flame bright eyes, dark depths 

illuming, 
But on he journeys, as by chance, on the way! 
The wolves in their wild joy are howling. 
As if for their prey they were prowling; 
The young girl forward runs, and doth their 

fury dare. 

A ring in her grasp she holds tightly, 

Whence tinkles a bell, sharply, lightly, 

A bell that tinkles lightly, that charmers wear! 

(She imitates the bett.) 

Ah! Ah! Ah! Ah! 

While the stranger regards her 

Stands she dazed, flush'd and glowing, 

More handsome than the Rajahs, he! 

• •••••••• 

And to heaven she soars in his holding, 
t It was Vishnu, great Brahma's son! 
And since the day in that dark wood. 
The trav'ler hears, where Vishnu stood. 
The sound of a little bell ringing, 
The legend back to him bringing, 
A small bell ringing like those the charmers 
wear! 




PHOTO KEUTLIMflER 

ABOTT AS LAKMi 



Mme. Tetrazzini's rendition of this beautiful air is wholly charming, and the vocal em- 
bellishments which she introduces will be something of a novelty to those who are familiar 
only with the usual cadenzas. 

Other fine renditions of this brilliant air are given by Mme. Galvany, who indulges in 
some quite astonishing cadenzas; by Bessie Abott, whose fresh young voice is heard to 
great advantage ; and by Miss Yaw, who provides a lower-priced version. 

As Nilakaniha had planned, Gera/</ recognizes Laknti and betrasrs himself. The Brahman 
goes to collect his Hindoos, intending to kill the Englishman, while Lal^mi finds Gerald, 
warns him of the plot, and tells him of a hut in the forest where he may be free from 
pursuit. 



Lakm6: 

In the forest near at hand, 
A hut of bamboo is hiding, 
'Neath a shading tree doth stand. 
This roof of my providing. 
Like a nest of timid birds. 
In leafy silence abiding. 
From all ejjes secret it lies. 
And waits it there a happy pair! 



Far away from prying sight. 
Without there's naught to reveal it. 
Silent woods by day and night. 
Ever jealously conceal it; 
Thither shalt thou follow me! 
When dawn earth is greeting. 
Thee with smiles I shall be meeting. 
For 'tis there thy home shall be. 



194 



VICTOR BOOK OF THE O P E R A— D E L 1 B B S ' L A K M 6 



Gerald at first refuse* thus to hide, declaring it unworthy of a British officer, but Liikmi 
pleads with him and he consents; but as he attempts to follow her he is stabbed by Nlla- 
l^anlha, who then escapes. Lakmi runs to Gerald, and overjoyed to find his wound is not 
serious, she prepares, with the help of her faithful attendant HaJjl, to beu him to the 

ACT III 

SCENE— ^n Indian Foral 

Act 111 shows the hut in the tropical forest. Gttald is lying on a bed of leaves while 
Ldpnt watches over him, singins soothing melodies. He opens his eyes and greets her 
with rapture, singing his beautiful In Fortst Depths. 



Vieoi al contento profondo 
(In Forest Depths) 






As the days pass and GcralJ i _ 

strength, he seems lo forget all else but his 
for the Brahman maiden, but one day, while she 
is absent, his friend Frederic finds him and urges 
■<"" ■" ■ I ,hi , I I H \. . i.M I him to return to his duty, telling him his regi' 

ment is ordered off at once to suppress an outbreak 
among the Hindoos. Gerald promises to be at bis post in time, but ailu for a little time in 
which to say good-bye to Lal^mi. Frederic leaves with his promise, and when Lal(ini conies 
back she hnds Gtrald changed. She asks the reason, but before he can answer the distant 
sound of bugles calling the regiment together is heard. She sees by his face that he means 
lo go back to his friends, and in despair she eats some flowers of the deadly stramonium 
tree and dies in his arms, just as her father and friends arrive upon the scene. 




DOUBLE-FACED AND MISCELLANEOUS LAKME RECORDS 



IPourquoi dans les grands bois ("Why Love I Thus t 
By Alice Verlet. Soprsno 
Mignon—Polonalte O/MIIe. Kortoff, Soprano 



iFanUisie aux divin 
RlgoleUo—Corii^ai 

NOTE— OuDtMiDo* 1 



> Stray 7) ) 
iln French))4iOOit lO-iocb. I 

UnFrtnch)] 



es (Idle Fancies) 
ly M. Rocca. Tenor 

Bu Remo Minolfi, Baritone 



(In Frtncft)! 16513 lO-inch. 
(/r, Ilallan)] 
oa— Copy't ISQO, Olivec EKUap Co. 



LINDA DI CHAMOUNIX 

OPERA IN THREE ACTS 

Words by Rossi ; music by Donizetti. First production at the Kftmthnerthor Theatre, 
Vienna, May 19, 1842; in Paris, November 17, 1842; in London at Her ^4ajesty*s, June, 1843; 
in New York, 1847. 



Cast 

Marquis of BOISFLEURY Baritone 

CHARLES DE SiRVAL, his son Tenor 

THE Parish Priest Bass 

ANTONIO LOUSTOLOT, a farmer Bass 

Madeline, his wife Mezzo-Soprano 

Linda, their daughter Soprano 



Time and Place : Chamoanix and Paris, 1 760, during the reign of Louis XV. 



The story tells of an aged couple, Lousiolot and Madeline, and their only daughter Linda, 
who dwell in the valley of the Chamounix (in the French Alps). Linda loves a young 
painter, Charles, who has come to the valley to paint the mountains. The Marquis de Sircal, 
who holds a mortgage on LiMstoloVs farm, visits the old couple aikd assures them that he 
will not press the mortgage ; but at the same time he is secretly plotting to effect the ruin 
of Linda. 

Linda enters and speaks of her love for Charles. She then sings the gem of the first 
act, a favorite with colorature sopranos for more than seventy years. 

A Huguet record of this lovely air is offered here, doubled with the Trentini-Caffo 
duet below. 

O. luce di quest* anima (Guiding Star of Love !) 

By Giuseppina Huguet, Soprano (In Italian) 62090 lO-inch, $0.75 

Likda: Oh! star that guidest my fervent love. 

Poor are we both in worldly state; Thou'rt life and light to me; 

On love we live, — on hope we 'dream! On earth, in Ileav n above, 

A painter yet unknown, is he, Entwin'd our hearts will be. 

Yet by his genius he will rise. Oh, come, then, come, my best bclov'd! 

And I his happy wife shall be! Oh, what joy I My every pulse is thine! 

Charles enters, and the lovers sing their charming duet. 

A consolartni afirettati (Oh, That the Blessed Day Were Come) 

By Emma Trendni, Soprano, and Alberto CafiFo, Tenor 62090 1 0-inch, $0. 75 

Linda and Charles: 

Oh! that the blessed day were come. And then, my love, we'll never part, 

When standing side by side, But each a treasure find 

We before God and man shall be In havinfr brought a faithful heart 

As bridegroom and as bride. To heav'nly love resigned! • 

The worthy parish priest having warned Linda's parents of the dishonorable intention 
of the Marquis, they decide to remove Linda from the danger, and send her to Paris. 
The Marquis pursues her to the city and renews his attentions, while Charles (who is in 
reality the son of the Marquis) is compelled by his father to transfer his attentions to another. 
Linda's father comes to Paris in disguise, and discovers his daughter. Believing her to be 
an abandoned woman, he curses her, and she becomes insane through grief. 

The last act again shows the little farm at Chamounix. The demented Linda has niade 
her way back to her parents, and is found by Charles, who has escaped the unwelcome 
marriage and now brings the release of the farm from debt. The sight of her lover causes 
Linda to fall in a death-like svroon, but when she recovers her reason has returned, and the 
lovers are united. 

196 




(Endiih) 

LOBETANZ MERRYDANCE 

MUSICAL PLAY IN THREE ACTS 
Text by Otto Julius Bierbaum ; muiic by Ludwig Thuille. Fiiat production at Mauo- 
heini, GerniBny, 1896. Firft production in America November 18, 1911, vrith Gadalci, 
Jadtowker, Withenpoon and Murphy. 

Caft 

LOBETANZ Tenor 

THE Princess Mezzo-Soprano 

The King Baai 

The Forester. I 

The Hangman.} Speaking P»rt» 

THE JUDGE. I 

Girls, muiicians. prisoners, two heralds, the people, 

Tbne and Plac* .■ Cermanji In the Middle Aga, 

-^ ^^^ The atoiy at Lobtlanx resemblea an old fairy talc 'm ill 

^^ ^^^^1 simplicity, the Prince Charming in this instance being a wander- 
ing mustcian, and the ending, as in all good fairy itoriea, being 
of the " lived.happy -ever-after" variety. 

The curtain rises on a rose file, which young girls are pre- 
paringin anticipation of the arrival of the King and hii daugh- 
ter. The PriiKot is ill, and the King has appointed a day 
of feilivily in the hope that it will revive her. Lobelara, a 
wandering musician, stroll* into the King'i rose garden, where 
the pr^wrations are being made, and stasra to watch the royal 




VICTOR BOOK OF THE OPERA— THUILLE'S LOBETAKZ 




proceuion, which U acconi- 
panied by poets and aingers. 
The muaicians play and sing 
to (he Afncui. but aU thejl 
efforts (ail to pleaae her. Sud- 
denly a violin is heard from 
an Bibor in the rear of the 
garden. The Princa, U Im. 
mediately fascinated with the 
music, and Lobdanz comes 
forward, his instrument on 
his shoulder. The pathos of 
hia playing so affects the 
Princat that she swoons, and 
Lohetanx barely escapes from 
alh of the 1 



the 






Ike 



party, and Lobtlanz is seized by the piki 

r in prison, charged 





Ihr 








her of hi. 




rhrr 


lovers are 


thl^K*^ anc 


the 


arris^al of 




and dragged away, while 


the 



royal hunting 
f^nceu falls ii 

The third act ahows the unfortunate lover in prison, charged with witchcraft, and sen- 
tenced to be hangeil. As preparations are being made to place the noose about his neck, 
the funeral procession of the Princat approaches. Loielam begs to be allowed to play upon 
his violin once more, declaring he can revive her. The King promises him his daughter's 
hand if he can bring her back to life again. As Lobeiant plays, the flush of Ufe appears upon 
the cheeks of the young girL and she slowly revives and is clasped in her lover's arms. 
The act closes with a merry dance, in which every one joins, and we are left to suppose 
that the lovers "hve happy ever after." 

The air which Mme. Gadski has sung for the Victor occurs in Act 1. in the scene rep- 
resenting the rose garden of the King, where the roae festival is to be celebrated. The 
Piincta, at the bidding of the King, offers a greeting to Spring and the roses. 

An alien Zweifen (Lovely Blossoms of Sprint;) 

By Johanna Gadski, Soprano (In Gtrman) 8B362 ll-inch, *3.00 




LOHENGRIN 



^Loh■^n 

OPERA IN THREE ACTS 

Word* and music by Richard Wagner. Fint produced at Weimar, Germany, Auguit 
28, 1850, under ihe direction of Liscl. Produced at WeUbaden. 1853; Munich and Vienna. 
1858: Berlin. 1859. First London production, 1873 ; Paiii, 1867. Fint American production 
in New York, in Italian. March 23. 1674, with NiLuon, Caiy, Campanini and Del Puente; in 
German, in 1865, with Brandt, Krauu, Fischer and Stritt— this being Anton Seidl'i Ameri- 
can ddbut as a conductor. 



Scf'IhllWt. 



i M n r i n. 



Characters 

HENRI THE Fowler. King of Germany Bass 

LOHENCRIN Tenor 

ELSA of Brabant Soprano 

Duke Godfrey, her brother Mute Personage 

Frederick of TELRAMUND. Count of Brabant . Baritone 

tttTBUD, his wife Mezzo-Soprana 

THE KING'S Herald . . Bass 

Saxon, Thuringian and Brabantian Counts and 
Nobles, Ladies of Honor, Pages, Attendants. 



Sctnt anJ Period : Aniioerp, firti h- 



' of tht tenth o 



-;^; 



Most of us are familiar with the story of the Knight 
Lohtngrtn, who comes in hia boat, drawn by a swan, to 
defend Elia from the charge (preferred by TelramanJ and 
Orirud, who covet EUa'j eatatea) of having murdered her 
young brother, Godfrty. 

TeiraminJ is vanquished and diagmced by Lohengrin, 
Fiocuki ap oiiciHAi. viiio wina Etaa aa his bride. One condition he exacts 

noDucTioH from hei — that she shall never ask who he is or whence he 

came. By the influence of OriruJ, however, she rashly 

3ueations him. and in fulfillment of his vow, but in . 
eep grief, he leaves her and departs in hia boat | 
drawn by a dove. The ethereal Grail harmonies, the 
lovely 5u>an MoHue, the noble Piastr of the King and 
the Bridal Chona make this one of the most melodious 
of all the master's operas. 

Prelude 

By La Scala Orchestra 31779 12.inch, ll.OO 
The prelude, one of the most beautiful of all 
Wagner'* compositions, symbolizes the descent from 
Heaven of a group of angels bearing the Holy Grail. 
The number begins with soft A major chords In the 
highest register of the violin. The motive of the Grail 
is then announced : 



Coming nearer and nearer, the light of the Grail is seen 
in the sky, while the air is filled with the blenings dis- 
pensed by the holy cup. Aa the sounds grow louder. 
the senses are overwhelmed, until at the tremendous 
climax thundered out by the full orchestra the mystic 
light of the Grail is seen in all its glory. 

109 




VICTOR BOOK OF THE OPERA— WAGNER'S LOHENGRIN 



The mimteiioua Grail motive then (aiies awaiy, being playetl 
it the end by muted itrinsi ; and the number end* with the 
iwne A majnr chords ' 



ACT I 
SCENE— Bant» of ihe Scheldt, nair Antwerp 
King Henrs of Germany arrives at Antwerp and find* 
Brabant in almost a atate of anarchy. He aummoiu the count* 
and noble* of Saxony and Brabant to meet under the Oak of 
Juitice; and call* on Fudtiidt of TaliamunJ for an explanalion, 
•aying: 



I cba 


rge lh« Icl 


mr kn, 


DW this trouble'* 


Fitdtrick now advance, and begin* hi* - 


The Irul 
When d. 

Ela'lh™ 
Whose d 


■grscious Ki« 

;alh w;, do! 
t he chose a 
maiden, and 
awning with 


re' falsehood I disdain. 

's"j™I?dian of''li"ch"ldr 
1 Gottfried her brolher; 
lender r»>e I guarded. 








lose a wife full 
',' dauBhler of : 



M« neire.! kin™ 
Duke. 



VICTOR BOOK OF THE OPERA- WAGNER'S LOHENGRIN 





The King U much diatuibed. and 
aslui tKat EIm be sent (or. WKsn 
■he enten timidly, with dovmcaat eyea, 
heuya kindly: "Speak, Hw, in thy 
King thou may'rt confide I " 

The young girl •eems bewiMeied 
and dreamily lings the lovely Traion. 
telling of her viaion of a splendid 
Knight who came (o be her defender. 

Elsa's Traum 
(Elaa*s Dream) 
By Johanna Gadski, Soprano 

(Cfrnion) 88036 12-ia., t3.00 
By Emma Juch. Soprano 
(ftonoatc.) {InGtrman) 
J4014 IZ-incb, 



: Oft V 



1.90 
e lonely. 



I Bsk'd for only. 



A knighi of gloT 
On me his ev.- 
Wilh tranquif 



uil gaic serene. 
gold beside bim, 



My guBriii 



The King it much moved, and 
aiSA AND LOHiHODi cbIU for a itidgment of God after the 

fashion of the time. The trumpeters blow the summons to the four points of the compass, 
and Ihe HetaldcalU: 

Wbo will do bail!? here for Elso of Brabant! Let him tppeir- 
At Brat there cornea no response, and Elia is in despair, but aher a second call • 
knight in shining aimor is seen approaching in a boat drawn by a swan. 
201 



VICTOR BOOK OF THE OPERA— WAGNER'S LOHENGRIN 



Nun aei bedankt. mein 
lieber Schwan I (Thanks. 
My Trusty Swan I) 

By Femkiido de Lucii, Tenor 

(.In Italian) 76002 12-iocb. $2.00 
By Leo SlezaL, Tenor 

itnCermm) 61203 10-incb. 1.00 
L^Kngrln itcpa out, dien turning and cwa^ 
ing the swan, singi : 

I RivF thH tliinks, my fiilfaful swim! 
Turn thee again and breast Ihe tide. 
Return unto that land ot dawn 
Whrre joyoua we did long abide. 
Well (hy appointed task is donel 
Farewell! ftrewell! mj irmly iwtn! 

Han/'gr^crJ, „v-„ign! 

Victory and honor by tiiy y«1oi'9 meed! 

Thy gloriaus name shall Cram th( land 

The knight now announce! that he hat 
come to defend the maiden, who i( unjuatly 
accused by her enemy. 




The King bida the noble* pre- 
pare to fight, and in ihi* noble 
Cebel calla upon Heaven to judge 
between the combatants. 

Mein Herr und Gott — 
Koeniff's Geb«t 
(King's Prayer) 

By Marcel Joumet, Bi>« 

(In German) 

64019 10-inch, ll.OO 
The King i> one of Joumet* 
beat parts, and he always aingi it 
magnificently, hii great voice roiling 
out in tremendous volume. His 
delivery is always easy and grace- 
ful, and his acting dignified and 
intelligent. 
KiMc HE»«y: 
O King of kings, on Th« I call; 



Do Thou, O Lord, to hear un deign. 

For all our wisdom is but vain! 
Frtdrrtdf is soon stnclcen to 
the earth by Lohtngtin. who is pro- 
claimed a hero. Eba is pro- 
nounced innocent, plights her troth 
to her brave defender, and the cur- 
tain falls amid general rejoicing. 



t of the 



VICTOR BOOK OP THE OPERA— WAGKER'8 LOHENGRIN 



ACT II 
SCENE— Cho-I af the Paiact 
■hows the 

Antwerp. It « night. Fied- 
trick °na Orirud, disgraced and 
dreued in sombre Barment*, 
are seated on the church 
atepa. They upbraid each 
other, Frtdaick accusing 
Ortnid of inventing the story 
of Eba'i crime. A long duet 
follows, ending in a terrible 
plot for vengeance. 

Elaa appears on the bal- 




d{ the palace, all un- 
>us of the wretched 
and diagraced Ttlraimind and 
Orirud, who are hidden in the 
shadow. In a blissful reverie, 
the young girl sings to the 
soft breezes of the knightly 
Lohaipin, to whom she is 
now Detrothed. 



Euch luften du mein KU^en 
(Ye Wandering Breezes) 

By Johanna Gadski, Soprano 
(/nCerman) 68377 12-in., *3.00 

Elsa: 

Ye wand'rmg hrrczes hratd me. 

When griel was all I loien'; 
Now that delight hath aiiired mc. 

My joy I'll brMlhe lo youl 

TaUAMUHD AND OaTIUDl 

'Tis the! Be near, ye powers of 
EUA {cOBlitiBiiiff dreamily): 



Mr check that burns and flushelb 
\VHb love, oh .^ool and bide! 

Du Aermate (Thou Un- 
happy One) By Emma Eamea 

sail Louise Homer i/n Ctmmn) 

89021 12-inch, »4.0O 

Eiia, who has finished her raptur- 
ous soliloquy lo the wandering breeze, 
still lingers on the balcony, enjoying the 
balmy night and dreaming of her be- 
irolha! on the morrow. Ortrud, pursuing 
the plot agreed upon with Fredeiick. 
appears and calls to E/m.who hearing 



hern 



Whc 



IIOH 




d happiness, forgive* her, aaying; 



VICTOR BOOK OF THE OPERA— W^AGNER'S LOHENGRIN 




Orlrud wanw Eba BKaiiut tnudnB her hiuband t 
in hi* life, and thus planU a aeed of ■utpidon ia I 
then (ollowi; 

F.lsa: Oitrud (or 



dolh ballow jov mnd k 
tg our faith, I IhmccI 



EUa enters the palace and Tclramund 
imprecation- 
Day brealu, and the Herald appear* 
banishment of TdramunJ. EUa, attended By her ladies, passes 
on her way to the minster but is suddenly confronted by 
Otbiid, who has arrayed herself again in splendid garrnenla. 
She taunts Elta with the fact that her knight has 






EUA iiniignaittly): 
Thou alandcrcr, ta 
Let my reply alt c 
So pure an J noble 



The King and Lohengrin now e 
[rieved, goes to Lehengrin, sayinK : 



I what doth ihou 




VICTOR BOOK OF THE OPERA— W^AGNER'a LOHENGRIN 

ACT in 

SCENE ]—TU Bridal ChambtT In the Palaa 
The act openi wilk the WtJJing Match, played by the orcheatm. 

Prelude to Act HI— The Weddin J March 

By La Seals Orcheatra *63693 lO-ineti, 10.75 

Thia i> followed bjr the beautiful Bitial Chona, one of the lovelieM nambera in the 
open. Aa the curtaiD liiea, ihowing the bridal clumbel', the atraina of the march continue, 
but in a aofter mood. The great doora at the hack open, and the biidal party enteii. — 
the Isdiea leading Elia and the King and noble* conducting loAengrin,— they come la tha 
front and the chorua begins: 



Maid bright »nd glorious, go thou before: 
Mirtfa'9 noisy revel yeVe forsaken. 
Tender delights for you now eweken; 
Fragrant abode enshrine ye in bliss: 
Splendor and stale in joy ye dismiss: 
Eight Ladies (patting amiirf tht bridtl pair): 

Tbls hours^Il'sliir'reqoite ye. 
When bliss halh known alloy! 

After a Btrilung and effective modulation the 
Grtt atrain ia repeated by the full clionia. 
Faithful and Iriie, no- rest you here. 
Where Love, ttiumphanl, elc 

The par^ goei ilowly out, leaving the bridal 
pair alone, while the Mraina of the nuptial air dia 
away in the diatance. 

The full strength of the Victor organization baa 
been uaed for the vocal rendition, and the reault ia a 
record of aurpauing beauty. An inatrumental record 
of this number !• alio offered. 



Bridal Chorus wAoma-s own HAKowstTtHo 

By Victor Opera Chonia 

(InEagbih) 31646 12-inGb. »1.00 

By Arthur Pryor's Band 31227 12-mch. l.OO 

By La Scala Choriu llnUallan) *I653r 10-inch, .15 

The bridal pair are left alone and a long duet occurs, part of 

which is recorded here by two famous artiits of La Scala. 

Cessero i canti alfin (The Song Has Died Away) 

By Giuaeppin* Hu^ct, Sopraao : Fernando 

de Lucia, Tenor {In Ualien) 92099 12-incb. *3.00 
The beautiful air which Lohengrin singi in the duet, Doaf TAou 
Bnatbe the Incaite. is also given here by Dalmoiea. 

Athmest du nicht mit mir die sussen Dufte ? 
CDost Thou Breathe the Incense Sweet ?) 

By Charles Dalmores. Tenor 

(InGtrman) 87008 10-inch. *2.00 

This duet is scarcely over when the poison instilled in Eito'i 

mind by Ortnti causes hor, in violation of her promise, to question 



* DaaUcJ'aeiJ RaarA—Sti Pt 







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t'Aii^ 


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■^; .- 


r .:• l..> 


r 


f: 1 <Is 


V^li •, 


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U.'Jv'-W'^-." ' 


f 


r??;^ 


.u,, 


'ilW ■ 


("■■ 


L." 


* ' " 


"xj-ya 




VICTOR BOOK OF THE OPERA— ^JV AG NER'S LOHENGRIN 



Lahaigjin aa tc 



ii lutne and oiigin. He 

.. .h her, at first gently and 

then with authority, remindins her that 
■he has promiaed not to aak hi> name. 
She become* more and more agitated. 



■hall nol comiKl me lo truil by 



No. 



Wbai fatal apell ia ihinc? 

In vain wouldsl Ihou aiiurc me— 

Declare thy race and name I 

They are interrupted by the entrnnce 
of FrtJeriek and four auociatea, who break 
in with drawn aword*. Elia shrieka and 
handa Lohengrin hia iword, with which 
he atrikea FrtJtrldt dead. The noblea 
aurrender, and Elaa falla aenaeleas in 
Lohtngrin't arma. After a long lilence, 
Lohengrin order* the body into the Judg- 
ment Hall, and give* ^Ma in charge of 
her ladiea. 

SCENE II— Some as Act I 
A quick change of acene shovra again 
the bank* of the Scheldt at Antwerp, aa 
in Act I. The King and hu noble* await 
the coming of Lohengrin, who ia to ac- 
company them to battle. They are , 
, atartled by the 

of the 





And fight bj' thy al[.conq'ring sword. 
! ■urpii*ed when the knight announce* that he i* forced to de. 
•mmand of the expedition, and telle of the attempt on hi* life. 



Then, lir»lr. ^o ye liold that 
'\-oiir fusl decree lo me it du 

Say, did I right when him I 



VICTOR BOOK OF THE OPERA— WAGNER'S LOHENGRIN 

Lohengrin: Vainly I hop'd she would fulfil her task! 

Ye all have heard her give her word in token Now mark me well, I will no more withhold it, 

That she my name and country ne'er would Nor have I cause to shrink from any test; 

ask: When I my name and lineage have unfolded 

That promise her impatient heart hath broken — Ye'll know that I am noble as the best! 

Then follows the great narrative of Lohengrin, one of the moat dramatic declamations' 
in all opera. 

Lohengrin* s Narrative — In Femem Land (In Distant Lands) 

By Herman Jadlowker, Tenor (In German) 76026 12-inch, $2.00 

By Evan Williams, Tenor {In English) 74130 12-inch, 1.50 

Lohengrin: 

In distant land, by ways remote and hidden, 

There stands a mount that men call Monsalvat; 

It holds a shrine, to the profane forbidden : 

More precious there is nought on earth than that. 

And thron'd in li^ht it holdfs a cup immortal. 

That whoso sees from earthlv sin is cleans'd; 

'Twas borne by angels thro the heav'nly portal — 

Its coming hath a holy reign commenc'd. 

Once every year a dove from Heav'n descendeth. 

To strengthen it anew for works of erace; 

'Tis called the Grail, the pow'r of Heav'n attendeth 

The faithful knights who guard that sacred place. 

He whom the Grail to be its servant chooses 

Is armed henceforth by high invincible might; 

All evil craft its power before him loses. 

The spirits of darkness where he dwells take flight 

Nor will he lose the awful charm it blendeth. 

Although he should be called to distant lands. 

When the high cause of virtue he defendeth: 

While he's unknown, its spell he still commands. 

By perils dread the holy Grail is girded. 

No eye rash or profane its light may see: 

Its champion knight from doubtings shall be warded. 

If known to man, he must depart and flee. 

Now mark, craft or disguise my soul disdaineth, 

The Grail sent me to right yon lady's name; 

My father, Percival, gloriousl]^ reigneth. 

His knight am I, and Xohengrin my name! 

After this amazing narrative, which causes a great stir among the people, the swan 

appears to conduct Lohengrin away. 

Ladies and Men: Lohengrin: 

While I hear him the wondrous tale revealing, Too long I stay — I must obey the Grail! 

The holy tears adown my cheek are stealing! My trusty swan! O that this summons ne'er 

Elsa* "^^ been! 

'Tis dark around me! Give me air! ^\ ****f *?i^ ^^ ^ "^^'fi ***^ ^^^\ 

Oh. help, help! oh, me. most wretched! {.ru**°"^*t* *^*^ J^^**" ^o"^<i,«»0" ^« « «^ , 

T ikr f' \ : A\ When thy probation would have pass d; 

Ladies and Men (m great excitement): T^en by the Grail's transcendent pow'r. 

The swan! the swan! the swan! j^ thy true shape we'd meet at last! 

The stream he floateth down. Oh, Elsa, think what joys thy doubts have 

The swan! ah, he comes! ended! 

Elsa (half-fainting) : Couldst thou not trust in me for one short 

Oh, horror! ah, the swan! year? 

Orirud, in triumph, no^r reveals the fact that the swan is really Eha's brother, whom 
she had transformed by magic. Lohengrin kneels in prayer, and as the dove of the Grail is 
seen descending, the swan sinks, and Gottfried, the young Duke, arises, restored to human 
form. Lohengrin's boat is drawn away by the dove as Elsa faints in her brother's arms. 



DOUBLE-FACED AND MISCELLANEOUS LOHENGRIN RECORDS 

Selection, No. I By Sousa^s Band 31425 12-inch, $1.00 

/Selection, No. 1 By Sousa*s Bandl ^^. , ^ , ^ .*^ - ^- 

\ Rower Song (BlumenUeJ) By Victor Sorlin, 'Cellist f^^^^^ 12-incli, 1.25 

Selection, No. 2 By Pryor*s Band 1 

' Meditation from Thais— Intermezzo Religieuse [35147 12-inch, 1.25 

By Howard Rattay, Violinist] 

rrelude. Act III By La Scala Orchestra \ ^o ao^ i n :^^u r< 

WalkUrer-Caoalcata By La Scala Orchestra] ^^^^^ 10-inch, .75 

fCoro delle nozze (Bridal Chorus) By La Scala Chorus \ , ^<« - , n ;-«u r* 

t Tannhauser-Pilgrims' Chorus By Pryor's Bandf ^^^^^ 10-|nch, .75 



207 




LOUISE 

OPERA IN FOUR ACTS 

Word* and muaic by Guatave Chaipender. Fint piesented at the Opera Ca 
Paria, Febnury 2, 1900. Firit American production at the Manhattan Opera 1906. 



Charactera 

Louise SopraDo 

Her Mother Contralto , 

Her Father Baritone 

JUUEN. an artirt Tenor 

Cirla at the Dreaamaking Eatabliahment, Street Peddlera, People, etc. 



Scene and Ptrlod : Paris; l/ie praenl time. 

Chaipentier'a firat opera, Louise, i* a romance of bohemian Paria. The atory lella of 
Loufie, a beautiful young girl engaged in a dreaamalcing eatabliihment. Jalltn, a lomanlic 
artiat, folia in love with the maiden, and aoon iinds hia love returned. The mother and 
father of Leuht diaapprove of the gay young artiat, but Jullen will not give up hia aweetheart, 
and implorea her to leave hei hard wotk and go with him to a little home. Louise at first 
ateadily refuaea, knowing how her parenta would grieve, but Jalltn peraiala. tempta her with 
vinona of a bright future with him. and at laat, unable to leaiat, the young girl goea with 
him to Montmartre. 

Here ahe falla in with a merry company of true Pariaian bohemiani^ who crown her aa 
the Queen of ftevel*. In the midat of a gay party her mother appeara, begging the young 
girl to return to her father, who ia ill. Loalte ia filled with remorae and retuma to her home, 
trying all the while to forget the gay. happy life ahe haa left at Montmartre. Her father 
repTOBchea her for her conduct and Louise, remembering only the kindneaa and lendemeaa 
of Jullen. ruahea out into the night and hutena back to the protection of her lover. 

The Victor offera two fine recorda of the lovely Depali le joiir, aung by Louise in the 
garden at Montmartre in Act III. The young girl tella Jullen how happy ahe haa been aince 
they came to the cottage, comparing her life with him to the dreary one ahe hod left. 

Depuis le jour (Ever Since the Day) 

By Ainu Gluck, Soprano (/n Fnaeh) 74252 12-inch. tl.&O 

By Florence Hinkle. Soprano (in Fnnch) 700S» 12-incb, 1,39 



LUCIA DI LAMMERMOOR 
LUCY OF LAMMERMOOR 

OPERA IN THREE ACTS 

Text by Sslvator Cammenna, derived from Scott'i novel, "The Bride of Lammermooi." 
Muiic by Gaelano Donizetti. Fint pioduction at Naple*, September 26, 183^. Performed 
in London. April 5. 1638; P«ri«. 1639; New Yott in Engli.h, at the Purlt Theatre. 1643; and 
in Italian. IS49. 

Chacactels 

Henry ASHTON, of Lammermoor. .' Baritone 

Lucy, hia aiater Sintano 

SIR EDGAR, of Ravenwood Tenor 

Lord Arthur Bucklaw , . Tenor 

Raymond, chaplain to Lord Aahlon Tenor 

Alice, companion to Lucy Mezzo-Soprnno 

Norman, Captain of the Guard atRavenawood. .Tenor 

Ladies and Knighia related to the Aahtona ; Inhab' 

itanta of Lammermoor; Pagea, Soldiery, and 

Domeatica in (he Aihton family. 

SctiK and Period; Tht acHon takf* pfuce Jn ScollanJ, pari 

In Raotmaoed CatlU, pari in the rained lower of 

WelfKrag. The Ume It Ike clott of 

the aixteenlh century. 




The prolific Donizetti (1797-1646) wrote no fewer 
than aizty-three operas, the moat popular of theae 
being, of course, Lucia di Lammermoor. It has long 
f*nl «s LUCIA IK IS60 ^^^^ jj^^ custom with a certain cUss of critics to run 

down the old Italian school of opera represented by 
Lucia, and talk about the nrtiliciality of the music, thinness of the orchealration. etc. But 
the public in general paya very little attention to these opinion*, because they love the 
music of Lucia, aa their grandfathers did, and realize that throughout the whole work there 
runs a current of tendemeas and passion, expreaaed in simple melody that vrill ever appeal 
to (he heart. 

Let ua now forget the critics and tell the simple and sorrowful itory. and listen to the 
melodious airs which have given pleasure to many millioiu in the seventy.aix years 
aince its production. 

The plot of Lucia is founded on Sir Walter Scott's novel. The Bride of Lammermoor. 
Lord Henry Aahton, Lacy't brother, knowing nothing of her attachment to his enemy. Edgar 
of Raotiawood, has arranged a marriage between Lucy and the wealthy Lt>td Arthur, in order 
to retrieve bis fallen fortunes. Learning that Lacg is in love with Edgar, he intercepts her 
lover's letters and executes a forged paper, which convinces Lacy that Edgar is false to her. 
Convinced of her lover's perfidy, and urged by the necessities of her brother, she unwillingly : 

consents to wed Sir Arthur. I 

The guests are assembled for the ceremony, and Laeg has just signed the contract, i 

when Edgar appears and denounces Lucy for her fickleness. Edgar a driven from the castle, | 

and the shock being too much for the gentle mind of Lucy, she becomes insane, kills her i 

husband and dies. Edgar, overcome by these tragic happenings, visits the churchyard of < 

Ravenswood and stabs nimself among the tombs in his ancestors. 



VICTOR BOOK OF THE OPERA— DONIZETTI *S LUCIA 




ACT I 

SCENE I— A Fmtt ntar 
The curtain riae*, ducloaing Nonnvn, and (ollowen of 
Sir Hems. Norman tella tho retaineia lo wBtdi carefullr and 
Btccitain who ii (ccretly meeting Laq/, In the opening 
choru* they promise to watch with diligence. 

Opening Chorus, Act I 

By La Scala Choruu 

{fn Italian) *62106 lO-inch, f0.7» 
Sir Hairy enten and talLa with Norman of hi* autpicion 
that Luc; hai ' ' .. i . r ■ 



■ formed an attachment for some u 



knight. Gorman auggeats that it may be Edgar. Henry ia 
(uriou. and declare. Le will have a deadly vengeance. 



SCENE U—A Park '•ear the Catlk 
Lucy enter*; accompanied by hei faithful attendant, 
Alice. She ha> come f lom the cattle to meet her lover, Edgar ; 
and while waiting for him, tella Alice of the legend of the 
fountain, which relatea how a Ravenawood lover once slew 
a maiden on thii apot. 

Regnava nel ailenzio (Silence 0*er All) 

By Tetrazziai (In hallan) 68303 12-iiich, *3.00 
By Giuacppina Hufuet. Soprano 

(/n Italian) *16939 10-inch, .79 
t the ipectre of the murdered girl, and feara 



Dark was the night and lowVing. 
And o'er yon fountain her pallid 

Famti? \ "^ivp ™t M'iflc'4*«gh 






1 hand. 



Thia graceful number ia given by Mme. Tetraiziiu with 
rare cbarm and pathoa; the concluding ornamental paaaagea 
being Bung with etpecial delicacy, and the beauty of the long 
auetained A at the cloae being notable. The popular-priced 
rendition by Mme. Huguet ia alao a very attractive one. 

Thia ia followed by the second part, — the beautiful 
QaanJo rafita, — 

Quando rapita in estaai (Swift as Thought) 

Graziella Pareto (Italian) 76O09 U-inch. t2.0O 

Giuacppina Huguet *6317a lO-inch, .79 

alao given here by Mme. Huguet and Mme. Pareto. Thia 

animated melody ia well htted to display the brilliant tone* 

of theae admirable aingera. 

Edgar appears and tella Lucy that he has been aummoned 
to France, and proposes that he seek out Henry and endeavor 
to end the mortal feud which exists between the familiea. 
Lacy, knowing her brother only loo well, entreats him to keep 
their love aecret or they will be forever parted. Edgar, 
rouaed to fury by thia evidence of Henry't mortal hate, re. 
news his vow of vengeance, beginning a dramatic duet. 

t€2l5. 



fi'.Tyllf,!""' 


tbls love. 






P 


■ 


liH 


1^ 




tiSf V>l 


m 


i 



VICTOR BOOK OF THE OPERA— DONIZETTI'S LUCIA 
Sulla tomba che rinserra (By My Father's Tomb) 

By Emmi Trentiai, Soprano, and Gino Martinee-Pstti. Tenor 

(/n Ilatian) *16374 10-inch. tO.TS 

Edcau: Lucy: 

By ihe lone tomb, o'er Ihe cold grave Ah: pray calm thee, ah, reslrain Ihee; 

Where my father's bones Lie moulding. Think whal mt»ry will soon enlhnl me; 

With thy kindred eternal warfare 1 can scarce from fear suslain mc; 

To the death I swore to wage! Would'st thou have me die from terror? 

Ah! when I law thee my heart relented: Yield thre, yield Ihee to the dictates of 

Of ray dark vow I half rfpenicd; aflection. 

But m^ oalh remains unbroken, 'Tis a nobler, purer passion, 

and in b tender duet, which diue* the act, the lover* 

Verranno a te sull' aura (Bome on Sighioff Breeze) 

By Alice NielfeD. Soprano, and Florencio Conitantino. Tenor 

{In Italian) 74064 12-inch. *1.»0 

By Emma Tcentini, Soprano, and Martinei-Pstti, Tenor 

</n Ilallan) •62106 lO-inch. .79 

EocAa: 

My sighs shall on the balmy breeie 
That hither wafts thee, be borne, love; 
Eaeh murm'ring wave shall echo make. 
How 1 Ihy absence do mourn, love! 



With n 

' " "■ bedew each thought 

s thy sigh. 



.„1I bedew each thought of thee 




Ah! think of me when far away, 

I shall bedew each thought of thee 

With many a bitter teat! 

Ah! thou wilt not fail to write me. 

Many a lonely hour 'twill cheer; 
Edcab: 

Fear not! Have no fear, thou shalt hear! 
Both; ....,.«.,, 

My sighs shall on the balmy breeze u,r„iiu.r< ., r~-.. 

Thai hither wafts thee be borne, love; etc. HcmamcK as eiwab 

Edgar teaia himaelf from her arms and departs, leaving the half-fsinting Lacg to he con- 
soled by her faithful Allct. 

ACT II 
SCENE I— ,4n Anfe-room In Ihe CojJ/e 
Sir Hang and his lelainer Norman are discussing the approaching marriage of Lucif to 
Arthur. The events which have occurred since Act I ate indicated by this exliact from the lexb 



Have no fear! The long absence 
Of him she mourneth, the letters 
We've intercepted, and Ihe false 

thou'll tell her. 
Witt quench alt hope that yet may lingi 
Believing Edgar faithless, from her 

love will vanish! " ■ 

Luqi enters, pale and listless, and to her brother's greeting : 
Hehrv: 

Draw nearer, my Lucy. 

M^y' Ihis^'glad'' day'^'wc red"' tV \o'v" Tnd ' tEoiIv"' silent ' 
she answers with a last appeal to him to release her fiom this hated marriage. 
* DtaUtfaaJftHcJ—For tab afcppBiUt ilJc h DOUm.EJ^ACED LVCIA RECORDS, poi 



VICTOR BOOK OF THE OPERA— DONIZETTI'S LUCIA 

II pallor funesto (If My Cheek is Pale) 

By Linda Brambilla and Francesco Ciffada {In Italian) * 165 74 10-inch, $0.75 



Lucy: 

See these cheeks so pale and haggard. 

See these features so worn with sadness! 

Do not they betray too plainly 

All my anguish, all my despair? 

Pardon may'st thou from Heaven 

Not vainly ask for this thy inhuman constraint 
Henxy: 

Cease this wild recrimination. 

Of the past be thou but silent! 

Flown has my anger! Banish thy dejection! 

Buried be all that thine honor could taint. 

A noble husband, thou wilt have. 



Lucy; 

Cease to urge me! 

To another true faith have I sworn! 
Henry: 

•Tis well! 

this letter thou mav'st see 
low he keeps his faith with thee! 

Read it. 

(Hands her a letter.) 
Lucy : 

How beats my flutt'ring heart! 

(Reads) : 

Ah! great Heaven! 



rii^ 



Henty, in desperation, now tells her that unless she consents to wed Arthur he ^11 be 
disgraced and ruined. This begins another duet, the Se tradirme. 

Se tradirme tu potrai (Fm Thy Guardian) 

By Hutfuet, Soprano: Ciffada, Baritone {In Italian) '"62089 10-inch, $0.75 



Henry: 

I'm thy guardian, dar'st thou brave me? 
I'm thy brother — wilt thou save me? 
From the hands of thee, my sister. 
Must I meet a traitor's doom? 
See the axe, by one thread hanging; 
Hark! the deep toned deathbell clanging. 
Hath affection lost all power? 
Wilt consign me unto the tomb? 



Lucy: 

I'm thv sister, dost thou love me! 
I am dying, will that move thee! 
From the nands of thee, mv brother, 
Must I meet now this dreadful doom! 
Hopeless misery all surrounding. 
E'en while the marriage bell is sounding: 
Fear and hate will be my dower; 
Better had I wed the tomb! 



However, convinced of Edgar* t falseness, she half consents to the sacrifice, and retires 
to prepare for the ceremony. 

SCENE II— rAe Grtat Hall of the Castle 

The knights and ladies sing a chorus of congratulation to the bride and bridegroom, 
while Sir Henry greets the guests and asks them to pardon iMcy's agitated bearing, as she is 
still mourning for her mother. 

Ijicy enters and is escorted to the table where the notary is preparing the marriage 
papers. Believing her lover false, she cares little what becomes of her, and passively signs 
the contract. Pale as death and almost fainting, she is being supported by her faithful maid 
and her family adviser, Raymond, when suddenly a terrible silence ensues, as Edgar, the 
lover of Lucy and the deadly enemy of her brother, appears at the back of the room dressed 
in a sombre suit of black. The wedding guests are dumb with amazement at the daring of 
the young noble in thus presenting himself unbidden at the house of his enemy. The great 
sextette, the most dramatic and thrilling number in the entire range of opera, now begins. 

Unlike many operatic ensembles, this sextette is not merely a most remarkable bit of 
concerted writing, but is so well fitted to the scene in which it occurs that even the enemies 
of Donizetti, who call Lucia merely a string of melodies, are compelled to admit its extreme 
beauty and powerful dramatic qualities. 

Sextette — Chi mi frena (What Restrains Me) 

By Marcella Sembrich, Enrico Caruso. Antonio Scotti, Marcel Journet, 

Mme. Severina and Francesco Daddi {In Italian) 96200 12-inch, $7.00 
By Tetraxxini, Caruso, Amato, Journet. Jacoby and Bada 

{In Italian) 96201 12-inch, 7.00 

By Victor Opera Sextette {In Italian) 70036 12.inch, 1.25 

By Pryor*s Band 31460 12-inch, 1.00 

Transcription by Ferdinand Himmelreich {Pianoforte) *35223 12-inch, 1.25 

Edgar remains standing, with his eyes steadily fixed on the unhappy Lucy, who is 
unable to meet his glance. This dramatic silence is broken by the commencement of the 
sextette, as Edgar and Sir Henrj^, with suppressed emotion, sing their short duet : 

* DoMt'Faced Recofd^See page 215. 



212 



VICTOR BOOK OF THE OPERA— DON IZETTI'S LUCIA 



Wb(t tbu9 nava my sword 
Is't Bllcclion ibat still remai 
And each ingry (ho'l encb 
Of mine own blood } 'j'?^"'" 
And dcqiairj™^^} heirt di 
Edgu: 

Vet. ungrateful one. t love 



I had hop'd tbat death h 



e beUke Ihee, 



One by one the characters in the scene lake up iheir portioiu of the lextette until the 
SreBt climax, one of the moM dmrnatic moments in opera, is reached. 

Seveial records of this magniRcent number are offered to Victor audiences. Besides 
the splendid Caniso-Sembrich and Ouliso-Tetraizini renditions, the Victor has recently 
issued a superb record by the Victor Opera forces at the popular price of $1.25, while for 

those who prefer an iDStnimental rendition a fine bond record is 

ofiered. 

Henry and Edgar, who have drawn their swords, ai 
by Raymand, who commands them in Heaven's name to sheath 
their weapons. Hemy asks EJgar why he has come, and the 
luughl replies: 

Edcu: 
HUher came I 
For my bride — Ihy lisler 
Unto me her faith hath swornl 
Bavhond: 
Thou mutt all hope of her relinquish; 

He eihibita the signed contract, hut Edgar refuses to believe 
the evidence of his eyes and aaka Laq/ if she had signed it. With 
her eyea Exed on him she tremblingly nods her head in assent. 
Edgar, in a furious rage, tears the contract in pieces, flings it at the 
fainting maiden, and rushes from the castle as the curtain falls, 

ACT III 

SCENE \—The TtMitr of Ravaumnod CatU 
Edgar is brooding on his misfortunes when a horseman rides 
up. dismounts and enters the tower. It proves to be Sir Henry, 
who has come to challenge Edgar to a duel to the death. They 
agree to fight the following morning, and in this duet ask the night 
to hasten sway, that their vengeance m^ be consummated. 

O sole piu rapido (Haate, Crimson Morning) 

By Giuseppe Acerbi, Tenor, and Renzo Minolfi, Baritone 

(/n Italian) *62644 10-incb. *0.79 
XChy the gentlemen do not take advantage of the present moment the librettiat does 
not reveal I This scene is ao melodramatic that it borders on the absurd, and it is usually 
omitted in this country, although it is well worth hearing from a musical point of view. 
SCENE \1—Hall In Lammeumar Caale 
The peasants and domestics of the casde are making merry at their feast in honor of 
the marriage when Rasmond enters, greatly agitated, bearing the fearful news that Lucy haa 
become insane and has killed her husband. This gives opportunity for B dramatic air, 
sung here by Signor Sillich and the La Scale Chorus. 

O qua! funeato avvenimento (Oh I Dire Miafortune) 

By Aristodemo Sillich, Baas, and Chorus (.In Italian) *62644 10-ineh. *0.7ft 




■ DaaUt-FoaJHtctttl—Far Ok afanatOt til 



m. DOUBLE-FACED LUCIA RECORDS, p. 



VICTOR BOOK OF THE OPERA— DONIZETTI'S LUCIA 



{In Italian) 86299 13>ineh, *3J>0 

{In Italian) B8021 ll-incli, 3J>0 

(In Italian) 86071 12-illch, 3.00 

(In Italian) 86221 12-iiu:h. 3.00 

{In Italian) 76006 12-iiich, 2.00 

On English) 35214 12-iDch. 1^9 

{In Rtaiian) 61129 tO-ineli. 



Mad Scene (Wich nuu obbiiora) 

By LuUm TeCrxsitai. Soprano 

By MircclU Scmbrich. Soprano 

By Nellie Melba, Soprano 

By Maria Galvany. Soprano 

By Graziella Paceto, Soprano 

By Edith Heleaa. Soprano 

By Marie Michailowa. Soprano 
Forgetting her Ruuriage, the demented maiden speaks one moment of the happy day 
when ahe will be Edgar's wife, and next u teiriiied by a vague feeling that lometning haa 
come between them. 

This iamoui numbei muit be judged solely aa a brilliant piece of vocafiam ; it can hardly 
be cotuidered dtamaticBlly, becauae when the prima donna loaea her reason in this style of 
opera, it only means that the acalea become more rapid and (he niuladea mare difficult! 
The unfortunate Lucy in her agony seema inclined and able to sing the moat difficult and 
florid music conceivable, and venture without hesitation on paaaage* at which a sane person 
would stand aghast) In short. Donizetti forgot hia dramatic mission temporarily in hia eflorta 



Lucy 



'"Ai^!"Dc"r"tdi 




yon phanloi 



Ah! 'Tis ibc hymn for our nuptials! 

For us Ihey arc singing! 

The altar for ui is dcck'd thus, 



ISkt fall, Ui^ling inl0 III. arm, pf Raymond.') 

scene seems especially set apart for the display 

of Buch a coloratura as Melba poasesses, and she sings this 
florid music with such brilliancy and graceful fluency that 
the listener is dazzled. Her runs, trilii and tiaccatc notes 
glitter and acintillBte, and compel a new admiration for the 
wonderful vocal mechaniam over which ahe ha. auch abiolute 
command. 

The rftie of the unhappy Lacn ia also admirably fitted 
(oTetrazzini's peculiar talents, and as the heroine of Donizetti's 
lovely opera she has made quite the greatest succeaa of her 
career. When she reachea this florid and difficult Mad Scene. 
the listeners are absolutely electrified, and such a torrent of 
enthusiasm bursts forth that the diva is usually compelled to 
repeat a portion of the aria. 

Mme. Sembrich'a rendition provea that the compaaa of 
her voice is all but phenomenal, and ahe singa the diflicult 
mtiiic with delightful flexibility. 

Other renditions of this well-lcnown scene are given by 
Mme. Galvany and Mme. Pareto, the famoui Italian prima 
donnas, and by Michailowa, the famoua Ruaaian singer. 
Although none of these artists has yet visited America, their 
beautiful voices are heard in thousandi of homea in which 
the Victor is a welcome entertainer. 

The unhappy Lmcs, after having in this scene again 
enacted the terrible events of the previous day. falls inaeniible 
and is carried to her room by Alice and Rajfmond, 

SCENE n~Tht Tambt of tht Raotnioioad, 

lezvoua arranged with Henry, Intending to 
. . sword, the last of a doomed race. But he waita in vain, for 
;niy, filled with remorse at (he consequences of his achemea, has left England, never to return. 
Edgar singa the first of the two beautiful aira written by Donizetti for thia acene. 



VICTOR BOOK OF THE OPERA— DONIZETTI'S LUCIA 



Fra poco a me ricovero (Fareivell to Earth) 

By John McCormack, Tenor {In Italian) 74223 12-mch $1.50 

His attention is now attracted by a train of mourners coming from the castle, accom- 
panied by Raymond, who reveals to the unhappy man that Lucj/ is dying, and even while 
they converse the castle bell is heard tolling, a signal that the unhappy maiden is no more. 

The grief-stricken lover then depicts his emotion in the second air, a lovely number 
with sadness in every tone. 

Tu che a Dio spietfasti Tali (Thou Hast Spread Thy Wings to 
Heaven) (O belP alma innamorata) 

By John McCormack, Tenor (In Italian) 

By Florencio Constantino, Tenor (In Italian) 

By Gino Martinez-Patti, Tenor (In Italian) 

The dramatic interest deepens as the air proceeds, until the finale, when Edgar, in an 

excess of penitence, prays that not even the spirit of the wronged Lucy may approach so 

accursed a tomb as that of Ravenswood. 

Edgar : 

Tho' from earth thou'st flown before me. 
My ador'd, my only treasure; 
Tho' from these fond arms they tore thee. 
Soon, soon, I'll follow thee, 

Breaking from Raymond, who endeavors to prevent the fatal act, Edgar stabs himself, 
and supported in the good man's arms, he repeats in broken phrases the lovely O bell' alma 
innamorata, and lifting his hands to Heaven, as if to greet the spirit of Lucy, he expires. 



74224 12-inch, $1.50 

74066 12-mch, 1.50 

'"62089 lO-inch, .75 



I'll follow thee above. 
Tho* the world frown'd on our union, 
Tho' in this life they did part^ us. 
Yet on high, in fond communion. 
Shall our hearts be turned to love! 



DOUBLE-FACED AND MISCELLANEOUS LUCIA RECORDS 

12-inch, $1.25 



I 

{Sextette (Transcription) Pianoforte By Himmelreichl «^223 

Caprice Espaiiol (MoazkpwakJf) Pianoforte By Charles G, Sprosaf 



Mad Scene By Edith Helena, Soprano (In English) 

Trooatore—Tacea la notte (Peaceful Was the Night) ^352 14 

By Edith Helena, Soprano (In English) 



(In Italian)] 

(h Italian) L^^^^ 
(In Italian)] 



Re^nava nel silenzio (Silence 0*er All) 

By Giuseppina Huffuet, Soprano 
Norma — Casta Dioa (Queen of Heaven) 

By Giuseppina Huguet, Soprano 

11 pallor funesto (If My Cheek ia Pale) 

By Linda Brambilla and Francesco Cicada 
Sulla tomba che rinserra (By My Father*8 Tomb) 
By Emma Trentini and Martinez-Patti 

Se tradirme su potrai (Fm Thy Guardian) 

By Giuseppina Hu^et. Soprano, and Francesco Cicada, 
Baritone (In Italian) 

Tu che a Dio spietfasti Tali (Thou Hast Spread Thy Wintfs) 
(O bell* alma innamorata) By Martinez-Patti (In Italian) 

O qual funesto avvenimento 

By Aristodemo Sillich, Bass, and Chorus (In Italian) 
O sole piu rapido (Haste, Crimson Morning!) 

By Acerbi and Minolfi (In Italian) 

Opening Chorus By La Scala Chorus (In Italian) 

Verranno a te sull* aura (Borne on Sighing Breeze) ^62106 

By Trentini and Martinez-Patti (In Italian) j 

iQuando rapita in estasi (Swift as Thought) 1 

By Giuseppina Huguet, Soprano (In Italian)\f^^j -^ 
Lucrezia Borgia— Rischiarata i la finestra tooii^ 

By La Scala Chorus (In Italian)] 



•\. 



* Dot^te-FaceJ Record — For tide afoppo$ilB aide 



215 



12-inch, 1.25 



10- inch, .75 



10-inch, .75 



62089 10-inch. .75 



62644 10-inch, .75 



10-inch, .75 



10-inch, .75 




LUCREZIA BORGIA 

OPERA IN THREE ACTS 
TeM by Felice Romani, taken from » work of the wme name by Victor Hugo. Muiic 
by Gaetano Donizetti, First preiented to the public at La Sola, Milan, in 1834 1 given a( 
the Thidtn hallta, Psri^ October 27, 1840. Firat London production at her Majerty*! 
Theatre, June 6, I839-, in English at the Princeaa' Theatre, December 30, 1843. Produced 
in New York at the AMor Place Opera Houk. 1847, and in 1634 with Maria Criii. 



Young noblemen i 



Republic 



Chiracteri 

Soprano 

™) Contralto 

o( the Venetian \j^ 

I Baai 

_ _ .. I Bw. 

IL DUCA Alfonso Baritone 

RUSTICHELLO. in the aervice of Don Alfonni Tenor 

S^^5-)i.,b=„„ic,,.D»..U„,^ J^ 

BAmsTA Tenor 

La PRINQPESSA NeX;RON[ Soprano 

CHORUS 



LUCREZlA flORGIA 

MAFFK) ORSTNI {Maf ■{••-oh Or-tm 

GENNABO, (/.nj«A'-ra/ 

UVEROTTO. 

VITELLOZZO. 

PETRUCCi, 

Gazella. 



Scene and Period; Italy; l/ie beginning of the li 



enlh cenlurit- 




copvr ouPORT 

D£ MOSCIII AS LUCSEZIA 



VICTOR BOOK OF THE OPERA— DONIZETTI'S LUCREZIA BORGIA 

THE PLOT 

The plot of Donizetti's opera cannot be called a cheerful one — it is, in fact, crowded with 
horrors. However, it was a great favorite with American audiences for many years, being 
one of the stock operas of Emma Abott during nearly her whole career. The opera was 
revived in 1904 for Caruso, but failed to score, and it is quite likely that those who admire 
its few Bne airs must depend on their Victors if they wish to hear them. 

iMcrezia, the heroine, was a conspicuous member of the 
notorious patrician family — the Borgias — celebrated for their 
diabolical success as poisoners. 

iMcnzia Borgia married as her second husband Don Alfonso, 
Dukfi ofFerrara. By her former marriage she had a son named 
Gennaro, of whose existence the Duk^ is ignorant. This son had, 
at birth, been placed in the ccu'e of a fisherman who brought 
him up as his own child. 

ACT I 

At the opening of the story Lucrezia, who in spite of her 
criminal practices has still the mother's yearning towards her 
own child, goes in disguise to Venice to visit him. 

She finds her son in the company of some gay Venetian 
gallants. She watches them, and presently Gennaro, wearied 
by the mirth of his companions, draws apart and falls asleep 
on a seat Lucrexia draws near, and gazing on his youthful 
beauty, she forgets everything except that she is his mother. 
She gendy presses a kiss on his brow and prepares to depart, 
when he awakes and asks her who she is. She evades the 
question, and leads him to talk about his mother, whom he 
says he has never seen. Feeling drawn toward the beautiful 
stranger, he tells his story, in the fine Di pescatore. 

Di pescatore ignoble (In a Fisher* s Lo^y Cot) 

By Francesco Marconi, Tenor (In Italian) 76004 12-inch, $2.00 

She bids him farewell, and is about to take her leave when Onini appears, recognizes 
her, and after brutally reciting her crimes one by one, tells the horror-stricken Gennaro that 
it is the Borgia. AH turn from her in horror, and iMcrezia falls fainting. 

ACT II 

Gennaro afterwards shows his hatred and contempt for the Borgicta by tearing down 
Lucrezia^s coat of arms from her palace gates, and is imprisoned by the Duke's orders. 
Lucrezia, ignorant of the identity of the individual who has insulted her, complains to the 
Duke, who promises that the perpetrator shall be immediately punished. He gives vent to 
his feelings in his air, K/en/ la mia vendetta. 

Vieni, la mia vendetta (Haste Thee, for Vengeance) 

By Giulio Rossi, Bass (In Italian) '"63404 10-inch, $0.75 

Gennaro is sent for and iMcrezia at once recognizes him. Full of horror, she turns to the 
Duk^ and begs him to overlook the otfense. The Duke is relentless and compels Lucrezia 
herself to hand a poisoned cup to her son. She obeys, but afterward contrives to give the 
youth an antidote. He suspects her of treachery, but she pleads so tearfully with him that 
he trusts her and drinks the remedy. 

ACT III 

This act opejis vrith a chorus of bravos, who have been set to cratch the dwelling of Gennaro. 

Rischiarata e la finestra (Yonder Light is the Guiding Beacon) 

By La Scala Chorus (In Italian) "'ddl 72 10-inch, $0.75 

Germaro, whose life has been saved by the antidote Lucrezia had given him, instead of 
escaping from the city as she had advised him, accompanies Orsini to a banquet which has 
been secretly arranged by Lucrezia, and to which have been invited the young men who 
had recognized and denounced her in Venice. 

In this scene occurs the famous BrirtJisi, or drinking song. 

^DouMeJ^aceJ Record— tot paat 218. 



217 



VICTOR BOOK OF THE OPERA— DONIZETTI'S LUCREZIA BORGIA 
Brindisi (It is Better to Laugh) 

By Emejtine Sc human n-Heink, Contralto (In German) 8818B 12-inch, tS.OO 
This a!r ii a very well known one. mad has been frequently lung. but Mmc Schumann- 
Heinle puta auch brilliant apirit into it, and ainga it with auch wealth of gayety, auch aatoniah' 
ing range and auch agility, that the rendition amazea the liatener. It ia certain that no muaic- 
lover of the present generation haa ever heard it aung ao brilliantly. The high note* are 
taken with the eaae of a aoprana, and altogether thia familiar drinking aoog haa never been 
ao well delivered. 

The rflle of MaSio Onlnl waa aiwayi one of Mme. Schumann-Heink'a favoritea, and ihe 
makes a gallant figure aa the gay Roman youth. The word* are well auited to the gayety 
of the muaic, and have been tranalated aa foUovra: 



Gleam'^ i^tle,' 11 



They arc mae 





































They'r 


•■ 11 














laugh tbar. 1 


b. . 


Uhing: 



"St 




To her horror ahc aeea Gennaro among the gueita. 
wine. She again oifera him an antidote, which he refuaea. b 
to lave the Uvea of his fiienda. Lucitxia confeaaea the r< 
Gennaro apuma her and diei. The Ou(e now appeara. in 
hideoua triumph, but bnda hia wife aurrounded by her vie 
Lucmfa, a witneaa to the horrible reault of her crime. auSe 
acme of her own poison and hetaelf expires. 



Btionahip between them, but 
mding to ahare in Lucreifa'i 
ma — some dead, others dying. 
> the keenest remorse, drinks 



DOUBLE-PACED LUCREZIA BORGIA RECORDS 

!ni. la mil vendetta By Giulio Rosai, fiaaa (/n /(a/Jan)l 

Qll Ugonolll^Daello ValenHna Mantlle }63404 lO-ioch. M.75 

Bf, Mario Qriil. Soprano, and Padh De Stgumla. fiouj 
rRiachiarata i la finestra (Yonder Light is the Guidiaf 1 



p 



1 Lada a L 



osr— Quaix/o raplla . 



By Qiutq^na HugucI, Soprano 




MADAMA BUTTERFLY 
MADAM BUTTERFLY 

OPERA IN THREE ACTS 

A Japaneiie lyric tmsedy. founded on the book of John LAilher Long and the druna by 
David Belaaco. with Italian libretto by lllica and GiaecBa. Music by Ciacoino Puccini. Fir«t 
produced at La Scala. Milan, in 1904, it proved a failure. Revived the following year in 
■lightly changed lorm with much succeaa. FinI American presentation (in English) occurred 
in Octobet. 1906, in Waihington, D. C, by Savage Opera Company. First repreKntation in 
Italian at Metropolitan Opera Houae, February II, 1907. with Fairar, Caruao, Homer and 
Scotti. 

Characters 

Madam Butterfly (Cho-Cho-San) Soprano 

Suzuki. (Stw-n'-jhv) Cho-Cho-San'a servant Mezzo-Soprano 

B. F. PINKEBTON. Lieutenant in the United Slates Navy Tenor 

Kate PINKERTON, hU American wife Mezzo-Soprano 

SHARPLES3. United StateaConsul at Nagaraki " ' 

GORO, a marriage broker 

Prince YAMADORI. miiloi for Cho-Cho-San 

THE Bonze, Cho-Cho-San's uncle , Bass 

CHO-CHO-SANS MOTHER Mezzo-Soprano 

THE AUNT Mezzo-Soprano 

The Cousin Sc^ano 

Trouble. Cho-Cho-San's child 

Cho-Cho-San's relations and friends — Servants. 



Al Nagatakl. Japan — Timt, the pmerri. 



VICTOR BOOK OF THE OPERA — MADAM BUTTERFLY 

The Story 

Puccini'* opera, which from the fint aiouced the keeneat intereat among opeia-soen, 
has become an enduring; auccesa. The oriBJnal Metropolitan production in Italian waa under 
the peraonnl direction of Puccini hinuetf, who refined and beautified it according to hia own 
ideas into one of the moat finiahed operatic productiona ever aeen here. 

The alory of the drama ia familiar to all through John Luther Long's narrative and the 
BeUaco dramatic version. The tale is the old one of the passing fancv of a man for a woman, 
and her faithfulness even unto death, which comes hy her own hand when ahe 6n<ls heraetf 
abandoned. 

Puccini has completely identified hia music with the sentimenta and aorrowa of the 
characters in John Luther Long'i drama, and haa accompanied the pictorial beauty of the 
varioua scenes with a setting of incomparable loveliness. Rarely has picturesque action 
been more completely wedded to beautiful music. 

ACT 1 

SCENE— Exitrior a/ PlnJ^rfon 'a heate at NagauJtl 

At the rise of the curtain Com, the marriage broker who haa secured /%i^rton hw bride. 

ia ahowing the Lieutenant over the house he has chosen for hii honeymoon. Shatpltu, the 

American Consul and friend of PliJteilim, now arrives, having been bidden to the marriage. 

Then occurs the line duet, which Caruso and Scotti have aung here in splendid style. 

Amore o grillo (Love or Fancy ?) 

By Bnneo Caruao. Tenor, and Antonio Scotti, Baritoae 

(/n/Wfan) 89043 ll-inch, *4.00 
^^^^^^^^^^^^^^^^^ PlnkBiOn, iqyous in the prospect of his marriage with 

^^^^^^^^^^^^^^^^^^1 the dainty Japanese girl, and quite careleaa of the conae- 

^^^^^^^^■Z^^^^^^^^H quencea which may result from such a union, describes his 

^^^^^^^V ^^^^^^^^^B bride to the Consul, who gives the young lieutenant some 

^^^^^^^B .S^^^^^^^H good advice, bidding him be careful, that he may not break 

^^^^^P^^ ^^^^^^^^1 Uie tniating heart of the Batletfty who lovea him too well, 
^^^^r ' ^^^^^1 The number closes with a splendid climax, as Plni^rf«n 

^^^^M ' i^^^^H recklessly pledges the "real American wife" whom ha 

^^^V ^B^^^^l ^°P^ '° meet some day ; while the Conau! gaiea at his 

^^■^ ^AhM^H young friend with some sadness, as If already in the shadow 

^^^Bfa|C^^^HB^^^^| of the tragedy which to come. 

^^^^■^^^Ki ^^^1 Now i> heard in the distance the voice of Ballttfla. who 

^^^^^K ^,t ^^^^M is coming up the hill with her girl friends; and ahe ainga a 

^^^^B ' '^^^^^1 lovely aong, full of the freshneaa of jrouth and the dawning 

^^H ^B^^H Entrance of Cio-Cio San 

^^^^^1 ^^^^^^^^^^1 By Geraldine Fairar. Soprano 

^^^H jm^^^^^^M {In Italian) Sr004 10-inch. tiJOO 

^^^^H ^V^^^^^^^H By Francet Alda. Soprano 

^^^H ""V^^^^H 64334 10>iaeh. l.OO 

^^^H ' II^^^^^H By Edith Helens, Soprano 

^^^H ' *^^^^H (/nEn^M) *17346 lO-ioch. 

^^^^H ^^^^^^^^H ^' frienda and family having been duly introduced to 

^^^^B^^^B^^^^H Ptt^terUin. they go to the refreshment table, while Buitafiy 

c^^^Tt!!!^^^^^^^^^^^^^ timidly confides to flntarton. in this touching number, that 

uASTiN AS FiMKEiioN aho has foT hia aake renounced her religion, and will in 
future bow before the Cod of her husband. 

leri son salita (Hear Me) 

By Geraldine Farrar. Soprano (/n Italian) 87031 10-inch. *2.00 

The contract is signed and the gueata are dispersing when BuHeOlir '* uncle ruahes in and 
denounces her, having discovered that ahe haa been to the Mission, renounced her reUgion, 
and adopted that of her husband. 
'Doutk-FaaJ RtarJ—Sm ixir' 225. 



VICTOR BOOK OF THE OPERA — MADAM BUTTERFLY 



She i* caM off by the family, who flee from the (cene ii 
but ii comforted by the Lieutenant, who tella hei he carea 

Then occur* the incomparably beautiful duet which c 



■ the first act, and which ii 



flaahing of firefliet, is wholly beautilul. 

O guanti occhi fisi (Oh 
Kindly Heavens) (Love 
Duet from Finale. Act I) 

By Geraldine Farrar. 
Sopraoo , aad Enrico 
CaruM), Tenor 
Untlallan) S901Z 12<ia_ *4.00 
Mlaa Fanar sings all of Puccini's 
music fluently and gracefully, but ia al' 
waya at her beat in this exquisite love 
duel, while the numhei is Caniao's finest 
opportunity in the opera, and he make* 
the moat of it. 

The blending of the voices of the 
artiM* is remarkably effective, and the 
ecatBtic climax at the end is *plendidlv 
given, both singers ending on a high 
C aharp ; the effect being absolutely 

ACT II 

SCENE— Inleriot of BuHafit/'i Home—ut the back a Garden utth Cherria In Bloom 
Three yeara have now elapsed, and BalUifiy, with her child and faithful maid. Sazakl. 
are awaiting the return of Pinktrion. SuxukI begiiu to loae courage, but BaUtrftj/ rebuke* her 
and declare* her faith to be unshaken. 

Un bel di vedremo (Some Day He'll Come) • 

By Geraldine Farrar. Soprano (/n Ilallan) 68113 ll.inch, »3.00 

By Emmy Destinn. Soprano tin Italian) 92097 12-incb. 3.00 

By Francoi Aids. Soprano (In Italian) 74933 12-mch. 1.30 




By A^nes Kimball 




(In EngUih) 70034 12-incfa. U3 
This highly dramatic number is sung after Botltifia 
ha* iepFo«:hed Saaikl {at her doubts, and in it she 
proudly declares conlidence in her husband. In the 
English version this is called the "Viaion Song," as it 
deaciihei hei vision of the arrival of Finkerton'i ship. 

Ora a noi I (Letter Duet) 

By Geraldine Farrar. Soprano, 
and Antonio Scotti. Baritone 

{In Italian) 89014 12-inch, 14.00 
Battafiy is visited by Shatpltu, who has received a 
letter from Pti^rton, and has accepted the unpleaaant 
task of infoiming Buaerfiy that the Lieutenant has de- 
serted hei. He finds his task a difficult one, for when 
he attempts to read PirJterlon'i letter to her, she mis- 
understands it* purport and continually interrupta the 
Consul with little bursts of joyful anticipation, thinking 
that PlrAfirton will soon come to her. Finally real- 
izing aomething of hi* message, she runs to bring her 
child to prove to Shatpltu the certainty of her husband's 
home-coming. 



VICTOR BOOK OF THE OPERA — MADAM BUTTERFLTf 




Sai cos' ebbe cuore (Do You 
Know, My Sweet One) 

By GcTaldine Furar. Soprano 

(/n Italian) S7095 lO-in.. *2.00 
By Emmy Deitinn, Soprano 

{In Italian) 91084 10-in.. 2.00 

In thta pitiful air ihe uka little " Tmable" 
not to Uilen to the bad man tSharploM). who u 
aayins that PinlterUin kaa doerted (hem. 

Shocked at the sight of the child, which he 
knew nothing about, Sltarpltu give* up in deapait 
the idea of further undeceiving her, knowing thai 
■he will aoon learn the truth, and leave* BaHttflu, 
who TeFusei lo doubt Plnktrion, in an exalted state 
of rapture orer the idea of her husband's return. 

Throughout the duet may be heard the 
mournfully aweet "waiting motive " played softly 
by the homa, and accompanied by atringa pixzlcatl. 
Tlii* i* beautifully given here, and the record is a 
most impressive one. 

The sound of a cannon is heard, and with 
aid of a glaas the two women see FitJctrUm 't ship, (he 
Abraham Ijncoln, entering the harbor. 

Duet of the Flower* 

By Gcraldine Farrar. Soprano, 
and Louise Homer, Contralto 

(In Italian) B9008 12-ii].. *4.00 



Greatly excited, Balittflg bids the maid strew 
the room with flowere, and they *CBtter the cherry 
blossoms everywhere, singing all the while weird 
harmonies which are hauntingly beautiful. 

Mi*» Faitai's impressive Cto-Ch-San, childish 
and piquant in its lighter aspects and pitifully 
tragic in its final scenes, and Mme. l-{omer's 
SaxakI- the patient handmaiden, who loves and 
protects her mistress through all the weary years 
of waiting, are two moat powerful impersonations. 
Of the music written (or these two rOles. this 
exquisite duet i* especially attractive. 

Night is falling, and not expecting PiTJierlon 
until morning, Bullerflsi. Suiuk' and the child take 
their place* at the window lo watch for his com- 
ing. As (he vigil begin*, in (he orchestra can be 
heard the " Waiting Motive," with its accompani- 
ment by distant voices of (he sailors in (he har- 
bor, producing an effect which ii indescribably 
beautiful. 




SCENE II— Same at Ihi PnceJtng 



The curtain rises on the same scene. It is daybreak. Suzul^l, exhausted, is sleeping, but 
BuUtrfty still watches the path leading up the hill. Suzul^l awakes and insists on BulttrPil 
taking some rest, promising to call her when (he Lieu(enan( arrives, 

Sharplta and Pinlftrton now enter, and question Saaikl. the Lieutenant being deeply 
touched to find that Butterfly has been faithful to him, and that a child has been bom. 

Suzulfl, seeing a lady in (he garden, demands (o know who she ia, and Sharpiat tell* her 
it i* the wife of l^nlferton, he having married in America. 

223 



VICTOR BOOK OF THE OPERA— MADAM BUTTERFLY 



The introductioD by Puccini'a librettitt of thi* character h>* been leverely criticiaed. 
many umiideiing II oE doubtful taate, and faiming a janing note in the opera. So ctrang 
U ihia feeliDg >i> France, that the part of Kalt hai been eliminated from the catL 

Tbe faithful maid ia hoirified. and dreeda the eSecl of thia news on her miatreaa. 
Weeping bittedy, she goem into Batlerfin'i chamber, while the friend* are left to bitter 
reflection*, expreaaed by Puccini in a powerful duet. 

Ve lo diaat ? {Did I Not Tell You ?) 

By Enrico CaruM> and Antoaio Scotd {InllaUan) 6904' 12-ineh. t4-00 

Pinkerton realize* (or the firat lime the baaeneaa of hia conduct, while the Conaul remind* 
him of the warning he had given him in Act I, — lo beware lest ihe tender heart of BuUetfy 
be broken. 

The part of the Conaul i* not a sreat one, but Scotii almoat make* it one with hia care- 
ful portrayal, ainging with dignity and tendemea* and giving the part it* full drunatic value. 
With the re-entrance of SaxukI occurs the tiio for Plnktrlon, SAorp/eu and SuaJ^. 

Lo so che alle sue pene (Naught Can Console Her) 

By Martia. Fornia and Scotti (/n Italian) 81503 lO-incb. fS.OO 

Tbi* trio is dramatically given by Martin, Fomia and Scotti, who have this season made 
succesaea in the aeveral fOle* of Pinkerton, Suzuki and Sharpieu. 

Finale Ultimo (Butterfly's Death Scene) 

By Geraldine Parrar. Soprano iln llallan) 87030 10-inch, 12.00 

By Emmy Deatinn. Soprano (/n Italian) 91086 lO-ineb. 2.00 

By Edith Helena, Soprano (/n EnfAiA) •17346 lO-inch. .75 

Now comes the pathetic death (cene at the dose of the opera. Ballerfly, convinced 

that Plnktrton haa renounced her, blindfolds her child that he may not witnesa her luicide, 

take* down ihe daner with which her father committed hari-kari, and after reading the 

inscription on ihe handle, "To die with honor when one can no longer live with honor," 

she stabs herself. 

In her death atniggle she gropes her way to the innocent babe, who, blindfolded 
and waving hia little fli^ take* it all in the spirit of play. Tbe tragic intensity of thia 

scene atwajia moves many lo 

Miss Farrai put* into this 
final number all the pathetic 
despair of Cto-Oo-Son '. over- 
burdened heart, her rendition 
being a moat impressive and 
wholly pathetic one. Mine. 
Deatinn gives a most dramatic 
interpretation of thia scenes 
perhaps the most heartrending 
in the entire range of opera. 
while an English veiaion by 
Miss Helena ia offered. 

Ptnktrim enter* to aak 
Butlafiy 'i forgiveness and bid 
her farewell, and ia horrified 
to And her dying. He lifla 
her up in an agony of re. 

In the orchestra, strangely 
mingling with the American 
motive, the tragic death 
motive may be heard aa the 
curtain slowly fall*. 

• DoukkJ'iictJ Raonl—Sct ^agt 225. 




VICTOR BOOK OF THE OPERA — MADAM BUTTERFLY 



DOUBLE-FACED AND MISCELLANEOUS MADAM BUTTERFLY RECORDS 

Madame Butterfly Fantuie— By Victor Herbert'* Orch 70059 la-incii, t] J9 

Madame Butterfly Selection By Victor Orclieatra 31631 12-inch, 1JX> 

Thia selection beBina with the entnnce muiic at f^rJferton, accompanied by the 

American theme loi which Puccini has utilized the "Star Spangled Banner. ' 

Then in aucceaaion are heard the gay air of the thoughlleaa Lieutenant (aa a comet 
•olo) in which he describea the chaiacleriilics of his countrymen ; the principal atiain of the 
love dtiet with which the act dotes; (he exquisitely poetical "Duet of the Flowen," part 
of which is given on the orchestra bells ; and the besinning of the supremely beautiful scene 
where BuHei/lsi, her maid and little son, take ibeir places at the window to watch unbl 
morning for the huiband'a coming, while in the distance can be heard the faint voices of 
■ingers in the night, producing a mournful and indeacribable effect- 
Then from the last scene we hear the return of FliJ^crion announced just as Balteifla haa 
taken her life; the American nw((^ strangely contrasting with the tragic music of the death 



a of the &nal curtain music, with its an< 
/Madame Butterfly Selection, No. 1 
\ Bartered Bride Overture 
jMadam Butterfly Sclectian, No. 2 
\ Tannhaiatr Selection 
Madame Butterfly Selection 
Two line twelve-inch selections, composed of the most effectivi 
d splendidly played, as usual, by this fine concerl band. 



: Japaneae melody. 



By Pryot** Band 31697 12-inck. I.OO 
of the opera. 



Madame Butterfly Fantasie 

Some of the most beautiful i 

combined in ihb attractive fantasie. 

"Song of Devotion" in Act II. som< 

beautiful " Waiting Motive." 

(What a Sky. What a Sea (Entrance of Butterfly, Act 1) 
(/n EngllA) By Edith Helena. Soprano , , ,, ., 

Beloved Idol (Butterfly's Death Scene, Act II) ■ ' ' '"*" 

(/n English) By Edith Helena. Soprano 



By Victor Sorlin 'Cello 31696 12-iacb. *1.00 
tages in this foKinating Puccini opera have been 
^mong the themes used are the last part of Batleifig't 
DCS called the " Vinon Song"; and the mournful but 



10-inch, *0.r» 





LA FLUTE ENCHANT^ THE MAGIC FLUTE 



(L^FI 






>b) 



DIE ZAUBERFLOTE IL FLAUTO MAGICO 

(Ok TtoiiUmr.Jler-.l,h) {EciFlai/*,hMaf-iJck) 

OPERA IN TWO ACTS 

LibrcKo by Schicluneder, Bdapteci from a tale by Wieland. " Lulu, or the Magic Fluie." 
Muaic by Wcil(KM>«Ainadeii. Mozart. Hrat produced in Vienna, September 30, 1791, Mozart 
directing. Firal PaiU productions " La My liira d'lili," /Kagami 10, ISOl. First London 
production, in Italian, in 1811; in German. 1833; in Engliah. 1636. Firat New York pro- 
duction April II. 1833. ^_^ 

Characteri 

SARASTRO. (Sahr-aa -Hot.) High Prieat o( Uia Bus 

TAMING. {Tfl*.<n«'.wA) an Egyptian Prince Tenor 

PAPACENO, (FVoAW-noA) a bird-catcker Baritone 

The Queen of Night Soprano 

PAMINA. {Pam^'.nah) her daughter Soprano 

MONOSTATOS. (Mak-nojU im) • Moor, chief of the slaves of the Temple 

of lais Baritone 

PAPAGENA. (ft.»wift-«wiJ»A) Soprano 

FIRST LADY, ) f Soprano 

Second Lady, [attendants on the Queen of Night \ Mezzo-Soprano 

Third Lady. ( ( Alto 

SKOND BOY. 1 '«'"'P"B '° '^«r Temple, and fulfilling the j M^.Soprano 
THIRD BOY, ) '^'"8™' of Sarastro | ^j,^ 

Prleits and Priestesses of the Temple of Isis; Male and Female Slaves: 
Warriors of the Temple, Attendants, etc. 

Tht aane h laid In Iht olclnlly of and In Ihe Temple of lilt at Memphii. The acUoit 
' U rtpreitnltJ as tailing place iJnat the Ume o/ Ramta I. 



VICTOR BOOK OF THE OPERA-THE MAGIC FLUTE 




But what did Mozart build on thii prepoe- 
letou. foundation} What godlilce mnpc 
breathes throughout ihia work, from the 
mcnt popular ballad to the noblest hymni 
What many-sidedneu, what marvelous va- 
riety! The quintessence of every noblest 
bloom of art seems here to blend in one un- 
equaled flower."— RfcAon/ Wagna. 

Strictly speaking, the Magic Flute is not 
an opera, but rather a (airy extravaganza ac 
ccmpanied by some of the moat delightful 
muaic imaginable. To fully appreciate 
Mozart's work, it should be heard in some 
German tov^n on a Sunday evening, where 
middle-class (amiliea and sweethearts find 
much enjoyment in the mixture of mystery, 
sentiment, comedy and delightful music 
which make up the opera. The libretto is. 
of course, utterly absurd, describing as it 
does the magic of the pipes of Tamfno which 
had the power to control men, animals, birda. r 
(lute is continually playing throughout the work, t 

Overture 

By Pryor's Band 

By La Scab Orchestra 

Tlie overture is not only one of the greatest □ 

appreciated. Its wonderful fugue, "in which Mozart sports with fugal counterpoint as 

though it were mere child's play," is played by the band in a striking manner. This fugue 

is announced lirst by the clarinets and a few bars later the comets take up the tlieme, followed 

by every instrument in the band in the marvelous finale. 

. a^ ,r-» ,^ ACT I 

•^S- ^d\ ^^L ''"'" «"•" shows a rocky landscape with the Tern- 

M'm. ^\[ lijr pic °f 'h' Queen of iht Night visible in the background. 

S ^ * 1 I ■ I^H Tamino, an Egyptian prince who is traveling with his 
'^ ' 1 1 J 2/ rl W i"™^*' becomes separated from them, is pursued by a 
i V f J 9 /4&' ■ huge serpent, and finally faints from fright and fatigue. 

/ '!« m VH '^""^ "''^'^ \it^iet, attendants on the Quesn. come from 

the Temple to his rescue and stab the snake with their 
javelins. While they go to tell the Queen of the occur- 
rence. Tamino revives, sees the dead serpent and hide* as 
he bean a flute. 

Ein Voifelfan^er bin ich ja (A Bird 
Catcher Am I) 

By Otto Goritz (Gcmnin) 64163 lO-ioeh. 11.00 
Papagtno, a bird catcher, admirer of damsels, and 
all-around rogue, enters and sings a merry lay, piping at 
THB TiiBEB LADIES OF riii QUEZM every pause. In his song the fowler describes his oc- 
cupation of snaring birds, but says he would like catching women better I 



sptiles and e 



s kind, b 



*3»13» 12-mch. *1.29 

♦68301 12-inch. 1.25 

E of the moat generally 




The fov, 



The 



of ri 



Wiih"t'hf 


anH nirl.' from in 
w to whiMic ever 

"erytr'.'-'biirh 


*D«J,kFa 


aJR^ori-Foriak 



s OOVBLE-FACED M^ac FLUTE RECORDS.naf 230. 



VICTOR BOOK OF THE OPERA — THE MAGIC FLUTE 



uul hi* imperaoiuUion vi 






!8. 7-™;™ 
.lUpoweiful 



'^apageno 
tiorKer. 



In the part of Papagena Mr. Goritz has ^e^ 
great features of the recent revival at the Metropoiitan. 

Tamino now comes forward anij gives Papageno credit for having killed the lerpent, an 
honor which he promptly accepts. The three ladies now return, rebuke Papagtno and show 
Tamino a photograph of the Queen 0/ Nlghl 't daughter, the lovely Pe ' 
taken from her mother by Sarattro, the Piial 0/ liia, to save her from ev 
falls in love with the picture and offers to rescue the maiden. He is g 
magic flule. and accompanied by Papagtno sets out for .SiiraifrD '1 palace 

The scene changes to a room in the palace of the High Priest, v 
covered in charge of Monotlalin, a Moot. 

The Moor is betraying bis trust by persecuting Pamlna with his attentions, when Pal 
enters and frightens him away. The bird catcher then tells Pamlna of To 
and offers to conduct her to this mysterious lover. 

(/(anon) (Ctrman) (.EnflllK) 

La dove prende— Bei Mannem— Smilea and Tears 

By Emma Eamea, Soprano, and Emilia de Goforia, Baritone 

{In llailan) 89003 ll-inch. *4.00 
By Johanna Gadslu. Soprano, and Otto Gorits, Baritone 

(In Qaman) 8836» 12-inch, 3.00 
This charming duet, with its grace and inimitable gaiety, introduces the melody of an 
old German song, Bel Afdnnem 

SmOf sed Tcsn 
Tfae Bmile, Chst on the [ip ii playing. 
How oft 'Iwill bide a bean's deep woe! 



. F'™.P' 



And SI 
Mike 



Shall 



shall change it 10 a tc 
rl >igh's irapawion'd br. 



ailing 



Oh, who the 

After many adventures Tomfno and /*amrnameet,and by means of the magic flute they ate 
■bout to escape, but are interrupted by Sataitio, 
who agrees to unite the lovers if they will remain 
■nd be purified by the sacred rites; and as the 
priest separates ihem and covers their heads with 
veils, the curtain falls. 

ACT II 
The first scene shows a noble forest showing 
the Templt of Wiidom. The priests assemble, and 
Saratiro orders the lovers brought before him. He 
then sings this superb Invocation, one of the most 
impressive numbers in the opera. 

Invocation (Great Isis) 

By Pol Pkn«on. Bass {Piano ace,, 

(In Italian) 85042 12-inch. I3.00 
By Marcel J our net. Bass 

(In French) 64235 10-inch. l.OO 
By Metropolitan Opera Chorus 

(InCennan) '45051 lO-inch, 1.00 
In the Invocation. Sarailm calls on the gods 
Isis and Osiris to give Tom/noand Papagena strength 
to beat the trial now at hand. 
Great I<is. «rHt OmHs! 

Sirenglhen with wisdom's strengtii this lyro psir; 
Vc who miide steps where denerU Icngiheti. 

Itrace Ihein with nerve, your proof Id hearl 
<~;ranl Ihem probation's fruit all living; 

Vet. should thev (inti a grave while striving. 
Think on (heir virtues, gracious gods, 
Take them elect to jour sbodes! 

DOUBLE-FACED MAGIC FLUTE RECORDS, pof 230. 




• Doabk-FactJ Rtard- ft 



VICTOR BOOK OF THE OPERA — THE MAGIC FLUTE 



In the noble lAle of Saratiro Plan^ on is eipeciiilly effect' 
ive, and his dignjAed impersonation oE the benignant High 
Priest, who smooths out all the fantastic tangles in the situa- 
tions which occur in Mozart's opeca, is always lingulacly im. 

The lovers are admitted to the Temple and begin their 
probation. 

In the next scene Pamlna is discovered asleep in a bower 
of roses. The Queen suddenly rises from the earth and gives 
Pamlna a dagger, telling her to kill Saratln or Tom/no can 
never be hers. Pamlna hesitates, and her mother, in • ter- 
rifying and dcamalic song, threatens vengeance on all con- 

Atis della Regina (The Queen's Air) 

By Bessie Abott. Soprano 

{In Italian) 88051 12-ioch. *9.(H) 
By Maria Galviny, Soprano 

{fn llaUan) 61099 lO-inch, 2.00 

The Queen of Night. Aslrtfiamnusntt, is one of the moil 

striking chaiacteta in Mozart's opera, and the few numbers 

allotted to her are difficult and florid ones. This great aria 

proBchei with misgiving, because of its excessive demands 

on the vocal powers. Miss Abott and Mme. Calvany com- 
pletely meet these demand*, both singing the air gracefully 

and with superb execution, 

Astkiflamhante: 

Tht pangs o( hell »r« raging in my bosom, I spurn Ihee and rtnounce lh«. 

Ueathand destruction wirdLy Hime around! If thou dar'sl lo biavc my wrath: 

Go forth and bear my Yrngcance to Saisstro, Through thee Saraelro ia to periaiil 

Or a> my dauihler Iliou Bhall be disown-d; Hear, gods of vengeance! 

1 east thee off forever, Hear a mother", vow! {She dilafftari.t 

Saratlra enter* and soothes Pamlna, saying that he will lake a righteous revenge on the 

Queen by obtaining the happiness of her daughter. He then sings the ttoble Cavatina, con- 

aidered one of the greatest of bass aria*. 

Qui adetfno non s'accende CWithin These 
Sacred Walls) 

By Pol Plin«Oil, Bass (Piano aec.) 

(/n Italian) 850rT ll-iilch. tS^K) 
By Marcel Jatiraet. Bass 

(In Fnnch) 74266 12.inch. 1.90 
In thi* number Plan^on is at hi* beat, and the rioble 
strain* are delivered in the broad sonorous sQile which the 
music requires, while a splendid rendition by Joumet in 
French i* also offered. 
SAJAsrso: Wiihin this hallowed dwelling 




I 


1 



i fan 



d tea 



The probationary trials of the lovers continue through 
many strange scenes, in one of which Pamlna meets Tmnlno, 
and not knowing that he has been forbidden to speak lo any 
woman, cries out that he no longer loves her. She then sings 
this pathetic little air, which Mme. Cadski has interpreted 
here so beautifully. 
330 



VICTOR BOOK OF THE OPERA—THE MAGIC FLUTE 
Ah lo SO (All Haa Vanished) 



Mme. Gadski hu long been recognixed as one of ihe 
Foremoal exponenu of Mozart in thia country. The music 
o{ thi( maMer demands aingen o( great undeialanding and 
feeling, who must pouesa not only voice but inlelligence and 

That Cadaki poMcaaea tbeae qualifications in ample 
meaaure ia fully appatenl to all who liaten to her aupeib 
Mozart reproducliona. 




Com. 



My - 



kind d 



.pLly fre, 



Pamlna, thinking Tamlno hai deserted her. wishea to 
die. and triea to stab heraelf with the dagger her mother 
has given her, but ia prevented by the three boys, or genii 
A o A A iKA (under inatructions from Satatlm), who assure her that 

Tamlno is atill true and proroiae to conduct her to him. 

Du also bist mein Brautigam ? (Thou Art My Bridegroom I ) 

By Johinna Gidaki, Soprano, and Mmea. Sparks, Case and Mictfeld 

{In Gtrman) B8441 12-iacb. *3X}0 
Mme. Gadaki gives the strains of Pamlna in her usual finished style while the music of 
the three "boya" is Sung by Mmea. Sparks, Case and Mattfeld, with voices of clear, youth' 
ful timbre which exhibit well the grace and brightness of Mozart's music 
Pamika: 
Oh dagger! thou arc my bridegroom! Pamina (rrcB-.vrs hcrsrlf): 

Tly thco alone I'll end my care. Whal! did he feel reH|i,m.lir.K love. 



For he fondly lovelli thee. 

The trials being finally completed, the lovcn 

and her accomplices attempt to prevent the t 

the Temple of the Sun. where Saraitro is s< 

beside him, while the baffled Queen and her tri 



are united in the aacred Temple. The Qaten 
sremony, but the scene suddenly changes to 
en on his throne with Tamlno and Pamlna 
in sink into the earth. 



DOUBLE-FACED MAGIC FLUTE RECORDS 
c Flute Overture 
's) Queen fVallx 
fMxfic Flute Overttire 
linger Preluat 



Magic Fh 
Mtlaleral 



'68207 12-inch. 1.25 



(O Isis uod Isiria 



t liis) 



{In Gen 



By Metropolitan Opera Chorus jin uemionji . , . 

Haguenoh-Coro dl SMail (Soldlen ' Cham,) I*'**' ' '"-" 

Bff MelrafiolHan Optra Chorai (In llatlan)] 



_v, ,■■■ ,: < -J: 



•"«>P^*ip, 



MANON 

OPERA IN FOUR ACTS 

Word* hy Meilhac and GJlle. after the novel of Abb« P[«vo*t. Music by Iul» N 
Finrt produclion at the Opira-Comigue, Paris, Juiuaiy 19, 1864. First London productioa 
May 7. 1 663: in English by the Carl Rosa Company, at Liverpool, January 17, 1865. bi 
Ftench at Covent Garden. May 19, 1S91. Fint American production at New York. Decem- 
ber 23, 1865, with Minnie Hauk. Giannini and Del Puente. Some notable revival* were 
in 1895 with Sybil Sandenmn and Jean de Renzke; in 1899 with Saville, Van Dyk, Dufricho 
and Plan^on; and at (he recent production (in 1909) at the Metropolitan, with Caruso, 
FarTBT, Scotti and Note. 

Cast 
CHEVAUER DES CRIEUX (Shca^W A* CiwV) Tenor 

Count des Grieux, hu /whM Ban 

LESCAUT, (LaJkol/) Manon'a cousin, one of the Royal Guard Baritone 

GUILLOT MORFONTEIN, a rou& Minister of France Ban 

DE BRETICNY, (Si>ii^j«4u>vO a noblenum Baiilone 

MANON, a school girl Soprano 

People, Actresaes and Students 

Thne and plact : 1721; Amitia, Paria, Hatrc. 

The story of Manon is, of course, taken by Massenet's librettists from the famous novel 
of the Abb* f^ivosl, but for operatic purpoaes several changes have been made, notably in 
the events of the fourth act, which takes place in France instead of America. Although the 
tale is very well known, a brief sketch will be included here. 

Manon is a country girl, gay. pretty and thoughtless, who meets a handsome young 
cavalier, da Gricai, while on her way to ■ convent to complete her education. He falls in 
331 



VICTOR BOOK OF THE OPE R A— MASSENET'S MANON 



love with her and ihe with him aa far lu her nature will edlow, and when he tella her of the 
gaieties and pleanireii of Paria, ihc needi httle perauaajon to induce her to elope with him 
to the Capital, to the chagrin of Galllol, whose carriage the lovera appropriate. 

Soon tiring at love in a cottage, however, the young girl encourages the attentions of a 
rich nobleman, Je Br&lgny, and when daCriaix ia taken away forcibly by his father, she 
•iezea the opportunity and leaves with her new lover. 

In Act 111 she leama that da Crleai, despondent because of her fallhlessnesa, haa resolved 
to enter a monastery. Her fickle aflectionB turn again to him, and she visits him at the 
Seminary of St. Sulpice. He at first repulses her. saying his love is dead, but ia unable to 
resist her, and they depart together. 

The nest act occurs in a gambling house, where da Grltax la endeavoring to win money 
to support Manon in the luxury she demands. Guillol, in revenge for the trick played on 
him in Act 1. cauaes their arreat. da Crleax for cheating and Manon as a dissolute woman. 

The last scene occurs on the road to Havre, where da Giieax and Ltuaal, Manon's 
cousin, plan to rescue Manon as she ia being taken to the ship, en route to the prison colony 
in Louisiana. The soldiers appear, but it is a djdng Manon they escort, and the unfortunate 
girl, after repenting and asking forgiveness of da Grieux, dies in hia arms. 

ACT 1 
SCENE l—Cour1yaid of an Inn al Amlena 
As the curtain rises the crowd of villagers, including Lacaat, are waiting the coming 
of the coach, which presently arrives and discharges Manon. The young girl regards the 
animated scene with much interest, and soon espies Lacaal. her cousin, who was to meet 
her at this point and escort her to the convent achool. He gieeta her and compliments her 
on her charming appearance. She blushes and then artlessly tells him of her impressiooe 
during the journey from her country home. The scene from this point haa been recorded 
by the ScsJa singers. 

Restate qui (Watt a Moment) 

By EUa> Tromben, SopraDo: Federico Federici, Tenor; G. Pini-Corsi, 
Tenor; Riccardo Tegaoi. Baritone {In llallan) *S50O0 12-uicb, $1.50 

Lacaul asks Manon to excuse him for a while aa he must go to see after her luggage. 

Lescaut (Is Mansn) ; 
Wait a momenl. 
Be prudent; 1 am going to Itnd jour luggage. 



f 


1 
r 


t«^r|^« 



'DvaHe-FaadRua^-FBtmiafiamllflJttmDOUBLE-FACay MANON RECORDS, p 



VICTOR BOOK OF THE O PER A— MASSENET'S MANON 



He goes out, and the townspeople desert the square, leaving Manon alone. The roui, 
Guillot, appears on the balcony of the hotel, crying : ** Miserable landlord I Are we never to 
have any wine? ** 

He sees Manon, and his evil eyes light up at this vision of youth and beauty. 



do I see? Young lady! 
Voung lady! 



Guillot: 

Heavens! What 
Ahem ! Ahem ! 

Really, my head is turning round I 

Manon (aside and laughing) : 
What a funny man! 

Guillot: 

Young lady, I am Guillot de Morfontaine. I 
am rich and would give a good deal to hear 
a word of love from you. Now, what do 
you say to that? 

Manon : 

That I should bft ashamed, if I were not more 
disposed to laugh. 

De Breticny: 

Now then, Guillot, what's the game? We arc 
waiting for you. 

Guillot: 
Oh, go to the Devil. 

Pousette (to Guillot) 



De Breticny: 
This time I swear the dog has by chance found 

a prize. 
Never did sweeter look light up a woman's 

face! 
Now then, Guillot, let the girl alone and come 
in. We are calling you. 
Guillot: 

Av, ay, in a moment. 
(To Manon): 

My little one, give me a word. 
De Breticny: 

Guillot, let the girl alone. 
Guillot (softly to Manon): 

A postillion is coming directly; when you see 
him, understand that a carriage is at your 
service. Take it, and afterwards you shall 
know more. 
Lescaut (who has (ust entered) : 

What do you say? 
Guillot (confused): 

Oh, sir! nothing, sir! 
Lescaut (boisterously): 

Oh, sir! Did you say — 
Guillot (returmng to the pamlHon): 
Nothing, sir, I said. 



Are you not ashamed? At your age! 

Guillot is frightened by the grutf soldier, to the amusement of the bystanders, who 
laugh at the baffled libertine until he flees in confusion. 

Lescaut now warns Manon to beware of the men she may meet. 



Lescaut (to Manon) : 

He spoke to you, Manon. 
Manon (lightly) : 

Well, can you say 'twas my fault? 
Lescaut: 

That's true; and in my eyes you are so good 
that I won't trouble myself. 

(The txvo guardsmen enter.) 
First Guardsman (to Lescaut): 

IIow now! Thou comest not! 



Second Guardsman: 

Both cards and dice arc waiting your pleasure 
below. 
Lescaut: 

I come; but first to this young lady, with your 

leave, good sirs, 
I must speak some words of counsel full of 
wisdom. 
Guardsmen (in mock resignation) : 
To his wisdom we'll listen. 



Lescaut (to Manon): 
Give good heed to what I say — 
Duty calls me now away. 
To consult these comrades here 
Upon a point that's not quite clear. 
Wait for me, Manon, just a moment. 



Mi raccomando (Wait for Me) 

By Eiisa Tromben, Soprano ; Federico Federici, Tenor ; Chorus 

{In Italian) *55000 12-inch, $1.50 

The young girl promises to be prudent and Lescaut leaves with the guardsmen. 

Should whisper folly in your ear, 
Ttehave as though you did not hear. 
For safety's sake adopt that plan. 
(To the Guardsmen, aside) 

Now let us go and see on which of us the 
no more. goddess of the game will look with loving 

Make no mistake, but prudent be, eyes. 

And if, forsooth, some silly man (They go out.) 

Des Grieux now enters, and seeing Manon, is much impressed with her beauty and 
modest bearing. He addresses her respectfully, beginning the lovely duet, Etje sais votre nom. 

Et je sais votre nom (If I Kne^w But Your Name) 

By Mile. Korsoff, Soprano, and L^n Beyle, Tenor 

UnFrench) *16551 10-inch, $0.75 

The young girl answers simply, but feels herself strangely drawn to the young student. 
The transition from strangers to lovers is a quick one, as will be seen by the translation. 

Des Grieux: ^^\s Grieux (rci//. emotion): 

re -, t » Manon I 

If I knew but your name— Manon (aside): 

Manon (with stm^utty): ll„^v tender are his looks. 

IIow delightful his voice to my soul I 



1 am called Manon. 



*Doubk-FaoeJ Record—For titk ofoppoMtte tide jee DOUBLE-FACED MANON RECORDS, page 240. 



2r>4 



VICTOR BOOK OF THE OPERA— MASSENET'S MANON 



Des Grieux: 

All my fond foolish words, 

1 pray you forgive I 
Manon (naively): 

How condemn your words when they charm 
my heart; 

To my ears they are music! 

Would to Ileav n such language were mine, 

You fit answer to make. 
Des Grieux (i« a transport of joy:): 

Lovely enchantress, all-conquering beauty," 

Manon, from henceforth thou art mistress of 
my heart I 
Manon : 

Oh! what joy! 

I'm henceforth the mistress of his heart! 
Des Grieux: 

Ah, speak to me! 
Manon: 

I am only a simple maiden. 

(Smiling) 

Believe me, I'm not wicked. 

But I often am told by those at home, 

That I love pleasures too well; 

(Sadly) 

I am now on my way to a convent, 

That, sir, is the story of Manon, 

(With simplicity) 

Of Manon Lescaut! 



Des Grieux (with ardor) : 

No, I will not believe that fate can be so 
hard ! 

That one so young and so fair can be destined 
to dwell in a living tomb. 
Manon : 

But 'tis, alas! the sovereign will of Heaven, 

To whose service I'm devoted. 

And no one from this fate can deliver me. 
Des Grieux (firmly) : 

No, no! Not from you, Manon, shall hope 
and joy be torn. 
Manon (joyfully): 

Oh, Heaven! 
Des Grieux: 

For on my will and power you can safely 
depend. 
Manon (xvith energy) : 

Ah! to you I owe far more, far more than life. 
Des Grieux (passionately) : 

Ah! Manon, you shall never leave me now! 

Since I would gladly roam thro' all the world. 

Seeking for you, love, an unknown retreat. 

And carry you there in my arms. 
Manon : 

To you, my^ life and my soul! 

To you I give my life for evermore! 
Des Grieux: 



Light of my soul! Manon, 

The mistress of my heart for evermore! 

Manon now observes the carriage of Gttillot, which had been offered her, and suggests 
that they take it and fly together. Dta Grieux joyfully agrees and they sing their second duet. 

Nous vivrons a Paris (We Will Go to Paris) 

By Mile. Korsoff, Soprano* and h6on Beyle« Tenor 

{In French) *45009 10-inch, $1.00 

Manon and Des Grieux: Evermore bliss is ours. 

We to Paris will go. Heart to heart! And with love's sweetest flow'rs 

And, though fortune may frown, never part! Will we crown the bright hours! 

Hearing Leacaut's voice from within the hotel, where he has been gambling, the lovers 
hastily enter the carriage and drive off, while Guillot swears revenge and Lexaut bewails his 
double loss of money and cousin. 

ACT II 

SCENE — Apartment of Des Grieux and Manon in Paris 

Des Grieux is writing at a desk, while Manon is plajrfully looking over his shoulder. 
He tells her he is writing to his father : 

Des Grieux: Des Grieux: 

This letter's for my father, and I tremble lest Yes, Manon, I'm afraid, 

he should read in anger what I write from Manon : 

my heart. Ah, well, then we'll read it together. 

Manon: Dfs Grikux: 

You are afraid? Yes, that's the way. Together we'll read. 

On Tappelle Manon (She is Called Manon) 

By Farrar, Soprano, and Caruso, Tenor (In French) 89059 12-inch, $4.00 
By Mile. Korsoff, Soprano, Beyle, Tenor {In French) ^45009 lO-inch, 1.00 



Manon : 

".She is called Manon, and is young and fair. 
In her all charms unite. She has grace. 



Ah, I knew it not. 



Continuing this charming scene, she takes the letter from him and reads with simplicity : 

Manon : 

Is this true? 

(Tenderly) 

But I know how much I am loved. 
Des Grieux (xvith passion): 

Thou art loved! Kfanon, I adore thee! 
Manon: 

Come, come, good sir, there's more to read 
yet. 



radiant youth and beauty; music flows in a 

r lip* 
the tender light of lo 



stream from her lips; in her eyes shines 



love. 



Dfs Grieux (ardently) : 

In her eyes shines the tender light of love. 



*DouUeJ^aceJ Record— For title ofofipoeOi tido see DOUBLEFACED MANON RECORDS, page 240. 

235 



VICTOR BOOK OF THE OPERA— MASSEN ET'S MANON 



Des GRIEUX! 

"Like a bird that through all lands follows 
the spring, so her young soul to life is ever 
open. Her lips, like flowers, smile and 
speak to the zephyrs that kiss them in pass- 
«ng. 
Manon (repeating): 

"To the zephyrs that kiss them in passing. 

(Pensively) 

Do you think your father will give his con 
sent? 



•• 



Des Grieux: 

Yes; he will never in such a matter as this 
oppose me. 

Manon: 

Dost thou desire it? 

Des Grifux: 

I desire it, with all my soul! 

Manon : 

Then embrace me, Chevalier. (They embrace.) 
And now, go; — send thy letter. 



De8 Grieux starts to go, but seeing some beautiful flowers on the table asks vrko sent 
them. Manon replies evasively, and asks if he does not trust her and if he is jealous. He 
assures her of his perfect confidence. 

A noise is heard outside, and Lescaut, accompanied by de Britigny, a French nobleman, 
enters, the former loudly demanding satisfaction from des Grieux for the abduction of his 
cousin. Des Grieux at first defies him, but remembering that he is a member of Manon 's 
family, shows him the letter he had written to his father asking her hand in marriage. 
Lescaut engages him in conversation, thus giving de Br^tigny an opportunity to speak to Manon 
aside. He tells her that des Grieux is to be carried oS by his father that night, and urges her 
to fly with him. Tempted by the thoughts of wealth the young girl hesitates. Lescaut now 
loudly expresses satisfaction with the attitude of des Grieux, and departs with de Br4tign^, 

Des Grieux goes out to post the letter and Manon struggles with the temptation which 
has come to her ; the pathetic air. Adieu noire petite table, indicating that she is yielding. 

Adieu notre petite table (Fare'well Our Little Table) 

By Geraldine Farrar, Soprano {In French) 88146 12-inch, $3.00 

By Mme. Vallandri, Soprano, and L6on Beyle, Tenor 

Un French) *45008 10-inch, 1.00 

NOTE. — In record 43008 Mme. Vallandri sings a ^rtion of ^ the '* Farewell " solo and this is 
followed by the short duet n^ich precedes the ' Dream." 

She regards the little table at which they had served their simple meals. 



Manon : 

Farewell, our pretty little table! So small and 
yet so large for us. Side by side so often 
there we've sat. (IVith b sad smile.) I 
smile as now I call to mind what narrow 



space we lovers filled. A single ^lass served 
both of us, and each, in drinking, sought 
upon its margin where dear lips had been. 
Ah! best of friends, how thou hast loved! 



Hearing des Grieux approaching, she hastily tries to conceal her tears. He observes 
them, however, and tries to soothe her by relating a dream he has had. 



(Italian) (English) (Frtnch) 

II so^no — The Dream — Le Reve 

By Enrico Caruso, Tenor 

By Edmond Clement, Tenor, 

By Fernando de Lucia, Tenor (Piano ace.) 

By John McCormack, Tenor 

By L^on Beyle, Tenor 



•« 



(In Italian) 81031 10-inch, $2.00 

(In French) 74258 12-inch, 1.50 

(In Italian) 66001 10-inch, 1.50 

(In Italian) 64312 10- inch, 1.00 

(In French) *45008 10-inch, l.OO 

• 

Listen, Manon,** he cries, " On my way I dreamed a lovely dream.'* 



Des Grieux: 

With fancy's eye I saw, Manon, 

A sweet and lowly cot. 

Its white walls, deck'd with flowers fair, 

(ileam'd thro' the wood! 

Beneath whose peaceful shadows 

Ran clear the babbling brook; 

Overhead, *mid verdant leaves 

Sang so sweet and full the joyous birds, 



'Tis paradise! Ah, no. 

All is sad. so sad and dreary, 

For, O my only love, thou art not there. 

Manon (softly) : 

'Tis a vision, 'tis but a fancy! 

Des Grieux: 

No! for thus we'll pass our life. 
If but thou wilt, O Manon! 



*Chabk-FacedRecord^Foriliko/oppoaUe aide «ee DOUBLE-FACED MANON RECORDS, page 240. 



230 



VICTOR BOOK OF THE OPERA— MASSENET'S MANON 



A knock ia heard and Manon exclainui aside, "Oh. Heaven, already they have come 
For kim I " She trie* to prevent him from opening the door, but he inaiiU, unci i> (eized 
and carried away, while Manon, suddenly repenting, ii overcome with grief. 



Mart 



ACT III 

SCENE— /4 Sine! In Pari, an a Fete Day 
u>mpanied hy Je BHligns and seveial goUont*. She is ii 



Gavotte — Obeiasons quand leur 
voix appelle (.Hear the Voice 

of Youth) 

By Geraldioe Farrar. Soprano 

(/n French) 67023 lO-inch. »a.OO 

By Frances Alda, Soprano 

{In French) 871 1 1 lO-inch. 2.00 



And ere the pride of beauty fallel 
Love then while yau mav. 
Profit then by the time oi yout' 






So while 
Love, er. 
Manon, t 
h« hiir 
She ie 



time oE vDuth, 
■- idage — be merr; 



eeing Ja Giieux'i father, timidly ap- 
and aaks if Jet Grieux has forg. 






1 ha. for 




ied his love, and is planning lo enlet 
a monastery. When the Count has departed, the 
capricious girl resolves lo go to St. Sulpice and 
see (or herself if she has been so easily forgotten ; 
and as the curtain falls she is c«l9ing to Leicaul tc 
SCENE 11— fi«ep/ton R«» 
At the beginning of this scene the Count pleads with his son not I 
world, but dei Gritux ssys he is' resolved, and his father, after promising him one hundred 
thousand francs, takes a sorrowful leave. 



o conduct her thither. 
n al Si. Sulpice 



Nail 



ibnU s 






One won 



e will b> 



■ faw 



doubtful. 



Whell 



Left alone, da Grieii sings his lovely song of renunciation, which the Victor offers in 
Italian and French by three famous tenors. 

(FnncK) ilUlm) {EaslUhl 

Ah, fuyez, douce imaget — Diapar. vision — (Depart, Fair Vision I) 

NOTE— The Cuuio record ii prectdsd by (be RcciOtivc. " Jc tuii Kul " (Alone H Lull) 

By Enrico Caruso. Tenor (/n French) 88348 12-inch. >3.00 

By Gino Giovsnnelli. Tenor (/n Italian) *»9001 12-iach. 1.90 

By M. Rocca. Tenor (In French) •\bi1i 10-inch. .15 



•DouWe-faotrf ftccorJ—For llllc o/ o| 



» DOUBLEJ^ACED MANON RECORDS, p. 



I 240. 



VICTOR BOOK OF THE OP ERA— M AS S EN ET'S MANON 



He declare* he will now aeek the peace of mind whi 


chonly 


Du GaiEux: I'm alone at last: The 






comt. From earthly ties I'n. frt 


e, and 




which (aith in hraven can giw] 






Ah! dciart, image fair, 






Leave me no« at rest; 






Hav« regard to my ^"/V- 






Ta\e'^Ttga\ have driin™ 






Life's most bitter cup. 






Nor to Heaven once complain' d. 






Though heart's blood filled it up. 






Dead to me no* are love and all 


that me 


.jCalUlo_ 


sire to banish from my memor 






which^^hauots m^e^! ^ Oh^ H^ven! 


with fl 


mc all 




Oh; le 


thy pure 


rious light chase far away Ihe g 




lays on 



He goes alowly out and Manon entera, shuddeTinB at the slootny walls and wodc 
i( her lover hn* quite (orgotlen her. Da Ctltux soon retuma and is astounded to see JVi 
bidding her begone. Saying hi* love is dead. She says she cannot believe it. 



Dci Crfetu is deeply moved, but ask* Heaven for strength to resist her. Hct 
ings finally have their effect, and he cries ; "Ah I Manon I No longer will 1 struggle 
myself I" and they depart together. 




SCENE— ^ GanAllng R« 



n Parit 



Z)ei Grftiu has been persuaded by Manon to come to this place in the hope of winning money 
to SBtiafy her desire for luxury. He plays for high stakes and wins large sums from Cuittot, 
who leaves in a rage. As da Critax is showing Mancn the gold he has won, a loud knock- 
ing ia heard and the police enter with GulRot. who denounces dts Griaii aa a swindler and 
Manon as his accomplice. They are arrested and taken to prison, but da GHeai is after- 
ward released through his father's influence, while Manon is ordered to be deported to 
America by way of hUvre. 



VICTOR BOOK OF THE OP ER A— M A3SEN ET' S MANON 

Concertato finale — 
O dolor 

By Arittodcmo Ciocgini, 
Tenor ; A. Santoro, So- 
priDo: 3. Nicolicchii. 
Baritone; and Chorus 

87083 lO-iDch. t2.00 
ACT V 
SCENE— On (Ac Road U> Havrt 
Da Grieia and Utcaal are 
on (he Havre road, waiting 
for the Kjldien who are es- 
corting the prisoners to the 
(hip bounti for America, det 
Ghcax having conceived the 
mad idea of rescuing Manon. 
Beginning the duet he sings 
his sad and remorseful air. 
Manon In Chains I 

Manon, la catena (Manon in Chains I) 

By Remo Andreini, Tenor : Riccardo Tefani. Baritone ; and Chorus 

[DeuUe^aaJ, « nigt 240) (In Italian) 95001 12-iiich, *1.90 

Des GiiEUx (discovtrci staled by Ike w 




O ll« 

He c. 









drspa.r; 



make rndyi 1h« 
fli'nd "h^* vafnf " oS" why* dd" t 
Lacaut hesitates and finally saj^ : 



Thy fellowi 






Des 



t«Uy): 



The voices of the soldiers are now heard in the distance singing as they ride. Dea 
GrituT and Leicaal listen attentively, and the former, realizing that they are almost al hand, 
madly triee to rush (onvard. Lacaul dissuades him. saying he has a better plan, as he is well 
acquainted with the officer in command. When the escort arrivea, Morton is found to be 
very ill and is left behind by the officer at Lacaal's suggestion. During a heart-rending 
scene Manon aalcs and receives the forgiveness of des Grfeiu, repents her sins and dies in 



VICTOR BOOK OF THE OPERA— MASSENET'S MANON 

DOUBLE-FACED AND MISCELLANEOUS MANON RECORDS 

IRcnaM qui (Wait a Moment) By BItM Trombeo. 

Soprano; Federico Federici. Tenor: G. Pini-Corii, 
Tenor: Riecardo Tefani, Baritone (In llallan) 
Mi racconundo (Wait for Me) By Eliaa Tromben, 

Soprano: Federico Federici. Tenor, and 
La Scala Chorui (/n Italian) 
IIo fon tolo (I'm Alone at I^it) 
By Cino GiovanneUi, Tenor (/n llallan) 
Manon. la catena (ManoninChaiiuI) By Remo Andreini, 
Tenor: Riecardo Tefani, Baritone, and 
Li Scala Chorus (In Ilailan) 
fNouf vivrona i Parii (We WUl Co to Paris) ) 

I By MUe. Kor«off, Soprano; Lion Beyle. Tenor 

jOn l*appe11e Manon (She is Called Manon) By Mile. 

[ Koraoff. Soprano : Uon Beyle, Tenor (In French)) 

[Adieu, notre petite table (Farewell. Our Little Table) 1 
I By Mme. Vallandri. Soprano; Lioa Beyle, Tenor I 

^Le rSve (Jhe Dream) By Uon Beyle. Tenor (/n Fnneh)) 

IEt je saia votre nom (If I Knew But Your Name) 1 

By MUe. KoTKjff. Sopr.no: Lion Beyle (/n FrencA) 
Fmorlla—SliUnAin plu belU In citl It ittllc (In Han'nly \ 165S1 

Spltndor) By Perello dc Segurola, Ban. and 
U Scala Cham, {In llallan)} 
iAbI fuyez douce image I (Depart Fair Vision) 1 

By M. Rocca. Tenor (In Fnnch) } 16979 
Carmen Stltcllim (Blxel) By Piyor'i Band] 



55OO0 12'iach, *1.50 



»900I 12-inch. 



49009 lO-inch. 



49008 10-inch. l.OO 





MANON LESCAUT 



OPERA IN FOUR ACTS 

Muaic by GUcomo Puccini, the libretto (founded on Abb6 FV^voat'm novel) being 
mainly the work o{ the compoaer and a committee of friends. Engliih venion by 
Mowbray Marru. Fir«t presented at Turin, February 1, 1893. Produced atCovent Garden, 
May 14, 1894. PirM important New York production. January 18. 1907. 



Cbaracten 

MANON LESCAUT Soprano 

LESCAUT, sergeant of the King's Guards Baritone 

CHEVAUER DES GRIEUX (del, Ci«.W) Tenor 

GERONTE DE RAVOIR. Treasurer-General Basa 

Edmund, a student Tenor 

An Innkeeper, a Singer, a Dancing- master, a Sergeant, a Captain. Singers, 

Old Beaux and Abb«B, Girls, Citizens, Villagers, Students. 

People, Courtezans, Archers, Sailors. 



Scent and Ptrtod : Parii and dclntla : itconJ half of the elghtetnlh aniurg. 



THE STORY 



This early Puccini opera was performed by a struggling opera company in 1696, but the 
performance was so wholly bad that we have made no mention of it in our chronicle at the 
top of the page. The real New York premltre was of course the Metropolitan production ilk 
I%I7, when Puccini himseK was present An English version of the opera was given in Phila- 
delphia, however, by Gustav Hinrichs during one of his summer seaaona, — August 29, 1894, 



VICTOR BOOK OF THE OPERA— MANON LESCAUT 



The Abb* Privoi 



_ ! has been troaled operatically 

by leveral composer*, the firit being Haldvy, who wrote a bal- 
let on the tubject in 1830. Other letlmga followed— by Balfe. 
IB36: Auber in 1656 and Maasenet in 1864. 

Puccini'a version consiits of four detached tcenes selected 
(com the novel and the hearer should poaseaa lome knowl- 
edge of the story to fully understand the action of the opera. 

The iirst act ihowi the courtyard of an inn at Amiens. 
Manor) 'j brother, Ltscaul, a dissolute soldier, is escorting his 
pretty little sister to the convent where she is to complete her 
education. While Lacaut is carousing with some chance 
companions, Manon meets a handsome gallant, da Gritia, 

The prospect of school not appealing strongly to the young 
girl, she readily agrees lo elope with da Grltux, thereby spoil- 
ing the plans of the old laai, GcronU, who had planned to 
abduct the pretty school girl. Manon soon tires of da Gritax 
and his poverty, and leaves him for the wealthy Gaontc; 
but even this luxury fails to bring her happiness, and when 
da Giitux appears again she runs away with him. fa»»a> « *«oh 

Geronie is furious and denounces Manon to the police as an abandoned woman. She is 
condemned to be deported to the French possessions in Louisiana. Da Grleia and Lacaal 
try lo rescue her. but the attempt fails, and in desperation the former begs the commandant 
to permit him to accompany her to America. 

In the hnal scene the lovers are shown in a desert near New Orleans. CThe Ahhi 
Pr^ost's knowledge of American geography was evidently limited!) Del Giltux leaves 
Manon to search for water, and returns just in time to see her die in his arms, after a most 
affecting scene. 




ACT I 
SCENE— ^ Sinel In fmnl of an Inn at 
Da Grfeui, dressed a* a student, strolling among the crowd, mi 



Edmund and a party 

gay mood and addresses some of the girls 

If there is one among them who will 



of students, who 
who are passing, 
tate pity on his lonely conditii 

Tra voi belle brune (No^v Amonfj You) 

By Ffiiteodc Gregorio. Tenor (In tlallan) *490IS lO-mch, ll.OO 

This gay song is effectively given by one of the Victor's 
new tenors, of the La Scala forces, and the record is 
doubled with the Madrigale from Act II. 

A diligence now arrives, and Manon and her brother 
and Gemnlt, a chance traveling companion, alight. Dea 
Grieux is struck with the beauty of the young girl, and 
when Lacaut and Ctnnit have gone into the inn to arrange 
for quarters, he questions her respectfully. She tells him 
that she is bound Ear a convent, but does not wish to go. 
Lacaut now calls to his sister, and she enters the inn alter 
promising to meet Jei Gritax later in the evening. 

The young man gazes after her, and says to himself 
that never has he seen so lovely a picture of youth and 
innocence. He eipreues his emotion in a fine air. one of 
the loveliest of the numbers allotted to da Grieax. 

Donna non vidi mai (Never Did I Behold) 

By Enrico Caruso, Tenor (W^iih Harp sad 

Orchestra) (In Italian) 81133 lO-ioch, *2.00 

By Egidio Cunefo. Tenor 
.siEscAUT (In Italian) *450I6 lO-ioch. l.OO 

RKorJ-FormIt o/ow™* .iJr^nOUBLE-FACED MANON LESCAUT RECORDS, pare 244. 




VICTOR BOOK OF THE OPERA—MANON LESCAUT 

The students now gather round, bantering des Grieux on his new conquest, but he is in 
no mood for joking and goes into the inn. Lescaul novr joins a crowd of soldiers who are 
gambling, and soon becomes absorbed in the game. Geronte, seeing the brother thus 
engaged, seeks the landlord and plots to abduct Manon. Edmand overhears the scheme and 
informs des Grieux, who finds Manon and induces her to elope with him. They take 
the carriage which Geronte had ordered and make their escape, leaving him furious. How- 
ever, he finds Lescaut and suggests that they go to Paris in search of the runaways. Lescaut, 
who has been drinking, consents, delicately hinting that if Geronte will admit him into the 
family group, he will use his influence to induce Manon to desert des Grieux for the older 
but wealthier suitor. 

ACT II 

SCENE — An Apartment tn Geronte '5 House in Paris 

Since the events of Act I Manon is supposed to have left des Grieux for the wealthier 
Geronte. She is seen surrounded by the utmost luxury, attended by her hairdresser, dancing 
master, etc. Lescaut enters, evidently much at home, and congratulates her on her change 
of fortune, taking to himself all the credit for having advised her so cleverly. She says she 
is happy and contented, but asks Lescaut if he has heard any news of des Grieux — whether 
he is grieving or whether he has already forgotten her. Lescaut tells her that the young 
man is disconsolate, and is gambling in order to get wealth to win her back to him. 

Manon gazes pensively at the rich hangings, and in a fine air expresses her longing for 
the humble cottage she has left. 

In quelle trine morbide (In Those Silken Curtains) 

By Frances Alda, Soprano (In Italian) 87106 10-inch, $2.00 

Madame <y\lda, whose Manon is one of her most successful impersonations, sings this 
pathetic scene from Puccini*s opera in exquisite style. 

They are interrupted by the entrance of a company of Madrigal singers who have been 
sent by Geronte to amuse Manon. They sing a beautiful Madrigal, given here by Signora 
Lopez-Nunes and La Scala Chorus. 

Madri^ale — Sulla vetta del monte (Speed 0*er Summit) 

By Lopez-Nunes, Soprano, and Chorus {In Italian) *45015 10-inch, $1.00 

When the singers have departed, the dancing master appears to teach Manon the minuet. 
She takes her lesson, w^hile Geronte and several friends watch her admiringly. In a gay mood 
she sings a little song to the air of the minuet. 

Minuetto di Manon, **L*ora o Tirsi" (Joyful Hours) 

By Frances Alda, Soprano {In Italian) 87079 10- inch, $2.00 

Des Grieux now enters and reproaches Manon bitterly. At the sight of him her love 
returns, and she begs him to take her away from all this luxury. They sing a passionate 
duet, followed by a lovely solo for des Grieux, vrho reproaches Manon for her fickleness. 

Ah ! Manon, mi tradisce (Manon, Kind and Gentle) 

By Franco de Gregorio. Tenor {In Italian) *45027 10-inch, $1.00 

By Giorgio Malesci, Tenor {In Italian) *63421 10-inch, .75 

Geronte surprises them, but controls his rage, and sarcastically wishing them a pleasant 
iite'd'tttet goes out. Lescaut shortly afterward rushes in and announces that Geronte has 
sent for the police. Des Grieux begs Manon to escape at once, but she insists on collecting 
her jewels first. This delay is fatal, and she is arrested and taken to prison, charged with 
being an abandoned w^oman. 

Intermezzo (Between Acts II and III) 

By Arthur Pryor*8 Band *35003 12-inch, $1.25 

Now comes the exquisite intermezzo, which gives a musical picture of the journey to 
Havre of Des Grieux to secure the release of Manon, and of his resolution to follow and 
protect her wherever she may be sent — "Even to the end of the world!** cries the 
unhappy lover. 

This number exhibits well the genius of this composer in making the orchestra reflect 
the incidents and passions of the story instead of using it as a mere accompaniment. 

*Doul>k-FaceJRecorJ-For title o/opposik side see DOUBLE-FACED MANON LESCA UT RECORDS, page 244. 

243 



VICTOR BOOK OF THE OPERA-MANON LESCAUT 



ACT III 

SCENE— 7A<! Harbor al Haon 
in ha* been bsniihed from France, and is now embarking on the ship for the 
olony in Louisiorut. Dei Grieur, unable to secure her releiue, entreata the oftcert 
: him to go on boBrd. The captain, touched by the grief of the unhappy lovers, 
and with e cry of )oy Det Critax embarki juat aa the ship i« (ailing. 
ACT IV 
SCENE— A Daolale Spot In Loultlaaa 
act ia roetely a long duet in which the sad, hut very human, tragedy it ended. 
: portrays the failing (trengtb of Marvin, the deapair of Dei Grftui when he is 
to aid her. the last farewell of the lovers, and the hitter grief of the unhappy 



Ihe music portrays tl 



in when Manan dies 



lable I 






:, he falU sensele.. on 



powerleaa 

DOUBLE-FACED AND MISCELLANEOUS MANON LESCAUT RECORDS 
/Intermezzo (Between Act* II and III) By Pryor'» Band! ,,,„, ,, . . ., ,, 
\ ToKaSdtcHon Bg Arthur Pryoit Baf4^^°° 12-meh. »1.25 

ranon Selection By Arthur Pryor'* Band!-.-,, ,, . „v , ~. 

El Capllan March (Soa») ft, Swm'. 3^;'**"^ 12-.ach. 1.25 

Tra voi belle brune (Now Amonf You) l 

By Franco de Gregofio. Tenor (/n fto/ton) I . . . lo-ioeh 1 OO 
Madrijale— Sulla vett. del monte (Speed O'er Summit) i4»0is lo-incn. i.w 

By Lopez-Nu net. Soprano, and Chorus (/n Italian)) 
Donoa non vidi mai (Never Did I Behold) | 

By Eeidio Cunego. Tenor (/n /f(i/J(in)US016 10-inch. l.OO 
Toko — Gla ml tlruggta ftt Erneilo Badlnl. BaHlont {In Italian) \ 
Ah I Manon. mi tradtice (Manon. Kind and Gentle) I 

By Franca de Gregorio. Tenor (In Itailan)\4i027 lO-inch, l.OO 
Gloconda—Otlo t Marl {Htaocn and Ocean) Bji dt GrtgoTio] 
Ahl Minon. mi tradiace Bv Giorgio Malesci {In Italian)] 
Emaia — /n/Wjce e ta aeJaH (UnhapfH/ One I) ^63421 lO-inch, .75 

ftf ArUlodtine Sllllch, Baa (In Italian)) 





MARITANA 

ROMANTIC OPERA IN THREE ACTS 
Libretto by Edward Fit^>a]l. Muaic by William Vincent Wallace. Riit prcxiuced at 
Dniry Lane Theatre. London, November 13, 1643. Firit American production at the 
Chestnut Street Theatre. PhiUdelphJa. 1846. 

Character* 

Charles 11. King of Spain Bu* 

Don Jose DE SAKTAREM. his Minister Baritone 

Don Caesar de Bazan Tenor 

Marquis de Monterori Ban 

LAZARILLO Mezzo-Sopnno 

MABTTANA. a gyp>y mnger Soprano 

MARCH10NES9 DE MONTEFIORl Soprano 

Noblea, Soldiera, Cypaiea. Populace. Dc 

Ttiiu and Place: The ictnt la laid In Madrid, al ihe lime of ChaAa It. 



VICTOR BOOK OF THE O P E R A— M A R I T A N A 

Wallace's lovely opera of old Madrid is still beloved (or its tunefulness and its sen- 
ti mental music. The ideal of opera fifty years ago was that of quiet, unatfected sweetness, 
and the composer in his Maritana achieved that quality to perfection. Hie story of the 
opera is founded upon that well-known play, Don Caesar dt Bazan, 

ACT I 

SCENE— i4 Public Place in Madrid 

The opening scene shows a band of gypsies singing in the streets. The young king, 
Charles, listens and is fascinated by the beauty of Maritana, one of the gypsies. The crafty 
Don Jose, the King's Minister, extols her charms to His Majesty, hoping that the King will 
compromise himself so that he (Don Jose) can inform the Queen and furtrier his own designs 
on Her Majesty. Don Caesar, a jovial cavalier and a former friend of Don Jose *Sf appears in 
a slightly exhilarated condition, and in befriending a forlorn lad, Lazarillo, involves himself 
in a duel with Lazarillo's master. This leads to his arrest for dueling in Holy Week, and he 
is sentenced to die, to the grief of Maritana, who has taken a fancy to the gay and careless 
cavalier. 

ACT II 

SCENE — Interior of a Fortress 

In the second act Don Caesar sleeps in his cell, with the faithful Lazarillo, who has 
accompanied his benefactor, by his side. The Minister enters, and when Caesar begs to be 
allowed to die like a soldier instead of being hanged, he is assured that it can be arranged 
if, in the meantime, he will consent to be married. With but two hours to live, Don Caesar 
decides that even marriage is preferable, and consents without inquiring who the bride is 
to be. The wedding banquet is being served when Lazarillo arrives with a pardon from 
the King, which /ose secures and hides, his scheme being to have Don Caesar shot and then 
induce Maritana to go to the palace by pretending that her husband is there, and then 
compromise the King. Maritana, who has been promised a glorious future if she will consent 
to wed Don Caesar, enters, heavily veiled, and the marriage takes place, after which the 
guards enter for the execution. Lazarillo, however, has drawn the bullets from the guns, 
and when the soldiers fire, Caesar is unharmed, but pretends death, and later escapes to a 
ball at the Montefiori palace. Under instructions from Don Jose, the Marquis introduces 
Maritana as his niece. When Caesar demands his bride. Don Jose arranges that he shall be 
presened to the Marchioness, who is closely veiled. The scheme does not work, however, 
as Caesar hears Maritana 's voice and tries to claim her, but she is quickly spirited away. 

ACT III 

SCENE — Apartment in the T^alace of the King 

In the last act Maritana is in the palace, and the scheming Minister introduces the King 
as her husband, but Caesar suddenly appears and demands his bride. Before explanations 
can be made the King is summoned by the Queen, while Don Caesar and Maritana consult 
together, finally deciding to appeal to the Queen. While waiting for her in the palace gardens, 
Caesar overhears Jose telling Her Majesty that the King has a rendezvous with Maritana that 
evening. Caesar appears, denounces him as a traitor, and slays him. When the King 
hears of Caesar's loyalty, he repents of his designs on Maritana and gives her to Caesar, be- 
sides making him Governor of Valencia. 

The Victor offers four splendid records from this melodious opera, including six 
numbers blended into a most appropriate medley by the Victor Opera Company ; a Victor 
Band record of the tuneful Overture; the song of Don Caesar in Act II, There 2s a Flower, 
given by Mr. McCormack ; and a violin record of the favorite Scenes That Are Brightest, 
from Act 111. 

Gems from Maritana 

Chorus, "Angelus" — Solo, "Scenes That Are Brightest" — Solo, "Let Me 
Like a Soldier Fall "—Trio, " What Mystery "—Chorus, " Oh, What Pleasure "— 
Finale, "Viva Maritana" 

By Victor Light Opera Company 31804 12-inch, $1.00 

/Overture to Maritana By the Victor Band\^»^^.. ,, -^t , ,- 

\ Manila Waltz By the United States Marine (B<^nd]^^^^ * * Z-mcn, I .ZD 

There is a Flower By John McCormack, Tenor 64307 10-inch, 1.00 

{Scenes That Are Brightest By Charles D^Almaine, Violinistl.^^o^ i>^ • _i. -i* 

Waltz from Faust Sy Charles D'Alma^e, VioUnistj^^^^^ lU-mcn, .id 

246 




(luliu) (French) 

NOZZE DI FIGARO MARIAGE DE FIGARO 

(Enililh) 

THE MARRIAGE OF FIGARO 

OPERA IN FOUR ACTS 

Text by Lorenza da Ponte, founded on a comedy by Beaumarchais of the aame name. 
Muaic by Mozart. FirM production at the National Theatre. Vienna, May I, I7S6, whk 
Mozart conducting. In Paris as Lt Marlage dt Figaro, in five acts, with Beaumarcliais' 
■poken dialogue, at the Academic, March 20, 1793; at the Tlieatre Lyrique. as Lei Nocet 
dt Figaro, by Barbier and Carrt, in four acts. May 6, 1856. In London, in Italian, at the 
Kings Theatre. June 18. 1812. First American production April 8, 1635. in English. Some 
notable revivals were— in the 70' s. with Heisee. Sequin and Paiepa-Rou; in 1889, witk 
NordicB. Eames, de Reszke, Ancona and Arnold«on ; in 1902, \t'.\h Sembricb, Eatnea. Fritzi 
ScheS. de Reszke and Campanari ; and in 1909, with Sembilch, Eames, Farrar and Scotti. 

Cast 

Figaro, lF.,'^ah.nA) the Barber, valet to the Count Bass 

Count ALMAVIVA. (AI-Kuh-tK^'-al,) a Spanish noble Baritone 

Countess ALMAVIVA. his wife Soprano 

Susanna, maid of the Countess, betrothed to Figaro Serrano 

CHERUBINO. (CW-ruiJw'-noA) page to the Countess Soprano 

MARCELLINA. {Mtr-cUI-ki'-rmli) servant to Baitolo Contralto 

BARTOLO, a rejected lover of Susanna Bass 

BA5IUO. {Bah-ac -la-ah) a busybody Tenor 

Don CURZIO Tenor 

ANTONIO, gardener to the Count Base 

Servants, Country People, Guards. 

Scene and Ptriod ; StOilU ; the ttvenletnlh ttntarj/. The action It a direct 
ctintlrtaathn of the Barber of Steillt, 



VICTOR BOOK OF THE OPERA— THE MARRIAGE OF FIGARO 




MozsTt'i Maniagf 

ful of muticol ( . . . 

■nee of tliia evei-yaung and lovely opera, il 
changes of mood, and the aparklins Kumo: 
•ingle opera, perhapa, ia there auch a auccc 
feet in its way and each aeems to enhanci 



._ Mie of the mo»t delight- 

for the all too inhequent perform- 
which the complications of the Hoiy, (he quick 
are all ao well reflected in the music. In no 
laion of muBJcal gems as in Figaco. Each i« per. 
he beauty of the others. 

' I Founded, haa been utilized by 



imedy by Beaumarchais, on which the plot . 
many composers, Mozart's version being written in 1783. 

Thoae who have read the atory of Barter of Saslllt will find themafelvsa again making 
the acquaintance of Barlolo, Almaoiva and Figaro, some time after the mnriiage of the dash- 
ing Courtl to Bartola'a ward. The CounI has settled down quietly on hia estates, while 
Figaro, as a reward for his services aa n match-maker, has been appointed major-domo of 
the castle. Flgaia a in love with the Gxinfen' maid Suianrta, and expects to marry her 
soon, but unfortunately for hia plans, had also promised to wed Matcdllna, the ei-house- 

keeper of Bartolo. on the very 
same day. Further complica- 
tions are promised by the fact 
that the Count, already weary, 
ing of his wife, ia making love 
to Saianna himself. 
ACT I 
SCENE \—J Room in tht 
Count'i Chateau 

Overture 

By Arthur Pryor's Band 
■3S109 12-inck. «l.as 
TTie overture is ■ moat 
delightful one, written in 
true Mozartian style, and Mr. 
Piyor haa given n brilliant 
reading of it, bringing Out all 

• btidkJ'»aiRtecrJ—Fn mk v^sMaUk WA at it^hfacti till an paf 252. 




VICTOR BOOK OF THE OPERA— THE MARRIAGE OF FIGARO 



At the opening of the opera Saumna telU Figaro 
and Figaro plans revenge, Marctltlna haa confided ii 
Hill harbors a grudge agsinst Figaro for rohhing him 
The Ciunlcsi, who seems lo be the only one in ihe i 
kind, thinlu only of her husband, and how to bring I 

ACT II 



that the CmnI is trying to flirt with her, 
a Dr. Bariolo, and aa the portly doctor 
o{ hia ward, he consents to help her. 
i^oslle not engaged in intrigue of aoms 
lim back to her side. 



SCENE I- 
At the beginning of Scene II, the Cwnfeu si 



aj the Coanttn 

:s her lovely appeal to Cupid. 



Porgi amor (Love. Thou Holy Impulse) 

By Johanna Gadski, SoprsDO <h Italian) 8B279 12-itieh. «3.00 

By Teresa Afkel.SopcaDO (Doutlt-faaJ. mt poft 25i) {Italian) 63419 10-inch, .79 

The Cbunleu ia one of Mme. Cadski's moat effective imperBonations, and she makes an 
imposing figure in her royal garb, singing the Mozart music with a richness of voice which 
is always a delight lo the ear. The PorgI amor, with its melancholy undertone, never seems 
to be heard al its beat at the opera, as it is introduced under rather trying conditions — at the 
very beginning of a scene and without preparatory recitative. Certainly Mme. Cadaki has 
never sung this lovely air better than al this time, it being delivered with much purity of 
tone and genuine aentiment. The record will he pronounced one of the moat salisfacloiy 
and appealing interpretationa in the artist's entire list. 

5usannir tells the Coa/ilett of her husband's ficklenesa and they conault Figaro, who plana 
to make the CoanI jealous by telling him that the Coantcta ia to meet a lover that evening in 
the garden. It ia plaimed to aend Marcdilna in the Cwnfeu' place, and Chaakirto, dreaaed 
a* a young girl, to meet the Coonl in .^anna's place. 

Figaro departa,and Cheniilno entera. Seeing hia mistreat hehegina lo heave deep aigha, 
but Satanna mocka him and tella the 
Counleai he has written a aong about | 
hia lady love. The Cmnltit bids hiir 
aing it, and he takea hia guitar anc 
describes the delighta and torments I 
Cauaed by Cupid'a arrow. 

Voi che sapete (^^hat is 
This Feeling ?) 

By Neliie Melbi. 
Soprano (Inltallan) 

88067 12-inch. $3.00 
By Luisa Tetrazzint, 
Soprano (/n Italian) 

88300 12-incb. S.OO 
The song ia in ballad form, lo 
suit the situation, the voice giving 
out Ihe clear, lovely melody, while 
the stringed inatrumenia carry on a 
simple accompaniment pizzlcalo, to 
imitate the guitar: and this delicate 
outline is shaded and animated by 



ind im 



It is difficult to say which to 
admire moat — the gracefulneaa of the 
melodiea, the delicacy of dispoaition 
of the parta, the charm of the tone, 
coloring, or ihetendemeasof eiprea- 
aion-^-the whole ia of entrancing 




VICTOR BOOK OF THE OPERA— THE MARRIAGE OF FIGARO 










imisid flows from each rill. 

The women now drett 
up the page to repreaent 5u- 
tanaa, and have no looner fiii' 
Uhed when the Cttini knoclu, 
and Chenihlno hide* in the 
cloael. The Count obtervea 
hiawife'a confu*ion, and hear- 
ing noUa in the diuet, he- 
come* jealous. He demands 
that (he open the closet door, 
and when ihe refusei he goei 
a crowbai. The moment 
■ out Chenihino, aided by 
Susanna, ahpa out and ew;apea 
through the window, and Sa- 
tamia entera the closet id hi* 
place. When the Coundetum* 
and open* the door, the maid 

come* out and the huaband is forced to apologize for hi* *u*piciona. 

MaretUlne now enter* with her lawyer and demanda that Figaro *hall keep hi* piomi*e 

to marry her. The Count promiaea to look into the matter. 

ACT in 

SCENE I— J Cahlnel In ihc Coanft Raidtnct 
The third act opena with a acene between Suianna and the Caotd. He plan* to (otc« 
her to accept hia anenlion* by threatening to make Figaro wed the ancient Marcelllna, while 
'n time. Thia acene is continued in a charming and graceful duet. 




VICTOR BOOK OF THE OPERA— THE MARRIAGE OF FIGARO 

Crudel perche finora (Too Long You Have Deceived Me) 

By Geraldine Farrar, Soprano, and Antonio Scotti, Baritone 

(In Italian) S9027 12-inch, $4.00 

Susanna pretends to encourage the attentions of the Count, in furtherance of the plot 

conceived by the Countess; while at the same time she defdy repels his advances. Finally 

she promises to meet him in the arbor and the Count is in ecstasies. 

Count: Susanna {aside): 

Too long you have deceived me; Oh. may the scheme I'm trying, 

Hope, weary, bids farewell. Bring all to peace and rest; 

Susanna: Count: Then, bjr the garden bower? 

What passes in her bosom Susanna: At twilight I will be. 

A maiden dreads to tell. • Count: You'll not forget the hour.' 

Count: You'll meet me in the grove, then? Susanna: Oh, no, depend on me. 

Susanna: When sunset's on the lea. Count: In the garden? 

Count: And do not mean it falsely? Susanna: Yes! 

Susana'a: Oh, no; rely on me! Count: You'll not forget? 

Count (aside): Susanna: No! No! No! Oh, no, depend on me! 

What transport now is flying Count (retiring): I have won her! 

Thro' this enraptured breast! Susanna (aside): Well, cunning as you are, sir. 

This time you've met your match! 

Of the seven ouets in which Susanna takes part in the opera, the 
Crudel perche is the most effective, and Miss Farrar and Mr. Scotti, both 
accomplished Mozart singers, deliver it delightfully. 

The two now separate, each satisfied -with the interview, — the Count 
believing she has yielded, and Susanna convinced that she has him in a trap. 

Marcellina, with her lawyer, Bartolo and Figaro now enter, and Figaro 
is informed that he must wed Marcellirta or pay damages; but the dis- 
covery of a birthmark proves him to be the long lost son of Marcellina. 
He embraces his mother just as Susanna comes in, euid she, seeing Figaro 
with his arms around the woman he was lately trying to avoid, decides 
that he has changed his mind. Matters are explained, however, and 
preparations for the wedding are begun. 

Susanna now seeks the Countess and tells her mistress that the Count 
wishes to meet her {Susanna) in the garden. The Countess then dictates 
a letter in which Susanna is to appoint a time and place for the meeting. 
Tlie writing of this letter is portrayed in a delicate duet. 

Che soave ze£Eiretto (Letter Duet — Song to the 
Zephyr) 

By Mar cella Setnbrich, Soprano, and Emma Eames, 

Contralto (In Italian) 95202 12-inch, $5.00 

This number is alwajrs greatly enjoyed in representations of the 
opera, being a fine example of the Mozartian style and full of beauties, 
not only in the vocal parts, but in the masterly orchestration. 

SCENE U—Hall in the Chateau 
In this scene Figaro and Susanna are married, and in the course of the festivities Susanna 
contrives to slip the note to the Count, who is overjoyed. 

ACT rv 

SCENE — The Qarden of the Chateau 
The last setting shows the garden where the most delightful of the comedy scenes takes 
place. Figaro enters and soliloquizes on the fickleness of woman. 

Ach ! 6£Fnet eure Augen (Of Women Be^ware !) 

By Otto Goritz, Baritone {In German) 74289 12 $1.50 

After his air he hides, just as Susanna, disguised as the Countess, and the Countess dis- 
guised as Susanna, enter. The mistress conceals herself, while Susanna, awaiting the Count, 
and knowing that Figaro is listening, sings her famous soliloquy. 

Deh vieni non tardar (Oh, Come, My Hearths Delight) 

By Marcella Sembrich, Soprano {In Italian) 88020 12- inch, $3.00 

She pours out her whole soul in this address to the imaginary lover, in order to 
increase the jealousy of Figaro, who is hidden near by. litis is one of the most exquisite 
numbers in the opera, and Mme. Sembrich's singing of it always remains long in the mem- 
ory of those who hear her in Nozze, 

261 




HEMPEL AS SUSANNA 



VICTOR BOOK OF THE OPERA— THE MARRIAGE OF FIGARO 




li r<i»s bind now (hy head! 
Chcmilno, having an appoinEmeDt with the maicl BarbaHtta. 
now enleTE, and aeeing the Countea, thinks it is Sujoniu an'' 
kU*e> her. The Cbunfeu atruggles, and the [ittle raacal aaya: 



The CounI arrivea juat in time to see thia, and giving 
Otenihlito a hoz on the ear, aenda him flying. He then makea 
"" love to the aupposed Suaanna, the Coanitu ditguising her voice 

)is*» Ai CHEKUamo ^j^j encouraging him. Figaro now aeea Suianna, whom he 

ae takea (o he the Counfeu, and telU her (hat hei husband and SuMnna are together. 
I reveal* herself and Figant embraces her. The Cmint sees this embrace and kia 
y making him Eorgel hia new conqueat, he aeizea Figaro and calla for help. The 
low revealed.and the Oxinl, confessing he ia conquered, begs the Counlat' forgiveness 
omisea to be a model husband. As ihe curtain falls the three happy couples arc 
g the kouae to continue the marriage festivities. 



DOOBLE-FACED MARRIAGE OF FIGARO RECORDS 

! Overture By Arthur Pryor'i 

Fra Diaoolo Ovtrturt _ _ _ By Arthur Prior's Bandr 

Porgi amor ~ . . . - 

Togllttemi la vita . 



V351(» 



By Teresa Arkel. Soprano (In ll<'ll<">)\f,,A,a ,o i„^h ts 



MARTA 

iMah/Jak) 



(EnfUak) 

MARTHA 

(Mah/Jhah) 



OPERA IN FOUR ACTS 
Libretto by St. George and Frieddch. Music by Friedrich von Flotow. The opera ii 
an elaboration of "Lady Henrietta, or the Servant of Greenwich," a ballet-panlominie. with 
text by St. George and muflic by Flotcnv, Burgmuller and Dcldevez, ivhich "wa^ tuggested by 
an actual incident and presented in Paris in 1844. Martha was first produced at the Couit 
Opera, Vienna, November 25, 1847. Firet London production July 1. 1658. at Covent 
Garden, in Italian. First American production 1652, in German. 



Cbaracters of the Dnma 

Lady Harriet Durham. Maid-of-honor to Queen Anne Sopnno 

Nancy, her friend Mezzo-Soprano 

SIR Tristan MICKLEFORD, Lady HarHet'i cousin Baa* 

PLUNKETT. a wealthy farmer Ban 

LiONEU his foster-brother, afterwards Earl of Derby Tenor 

THE SHERIFF OF RICHMOND Bass 

THREE Servants of Lady Harriet, Tenor and Twu Basses 

three Maidservants. Soprano and Mezzo-Sopiano 

Chorus of Ladies, Servants, Faimera, Hunters and Huntresses, Pages, etc. 

'n Richmond 



Flotow's melodious opera has always been a moi 
itsbeautifulduelsand quartet, the famous third act 
finale and the beloved "Last Rose of Summer." 

The composer was of noble birth, a son of 
Baron von Flotow of Mecklenburg, and was bom 
in 1812. His father destined him for a diplomat, 
but the boy loved music, and went to Paris to 
study. His first attempt at opera was F^erre cl 
Citharlnt, followed by Siradclla and others. 

Many great prima donnt have sung the rOle of 
Martha — Palti, Nilsson, Kellogg, Gerster, I^chings, 
Parepa Rosa; and in the present day Sembrich, 
have charmed their audiences with Flotow's beau- 



"ih its spirited Fair Scene, 



tiful SI 






which c 



I- of 



Overture 

By Pryor's Band *35133 12-inch. *1^5 
By Pryor'* Band 31478 12-inch, I.OO 



ACT I 

SCENE y—Baudolt of Lady Harrttl 

Lady Harriet, maid-of-honor to Queen 

She is bored by her admirers, and jewels i 

says her faithful maid, Nanci/, "I do nc 

duet, ventures to guess. 

'OociUc.FiHzi/ Rccvrd—Far mit of I 




Anne, is weary of the monotony of court life, 
id flowers pall upon her. "Why do you weep?" 
know," exclaims Harriet. Nancy, beginning the 



m DOUBLEJ^ACED MARTHA RECORDS. p4 



VICTOR BOOK OP THE OPERA— FLOTOW^'S MARTHA 
Mesta ogaot (Ah, These Tears) 

By Louiie Homer. Coatrtlto, >od BcHte Abott, Soprano 

ilnllallan] S90O9 12-uich. *4XK> 



Is there aught in thU ala 

*vlm bcu'e"' How can r< 
Such insipid, idle love? 
For lo please and interest 
Flalltry is not enough! 

'Riches heap on you Iheir 
Honor high is offered yoi 

LSDY IlAtKIET: 

In the midst of gold and 

This is really too dislrest 
Her's is called a brillianl 
If love does not work a i 
Triilan, Harritt's 



And your colors win the prize, 
Proudly from the banners wa> 



All my gk 
Please me 
What of b. 



The homages (hey offer. 
Praise and honor ihey he-tow. 



>t with p 



Then. 1 



Bui to let your ^heart^blTMnquer-d. 
^i. Not a particle retainins! 

[ay but rather ancirat beau, u now announced and propoaea 
the Richmond Fair, ni>w floata 



mercifully. The aong of thi .. . 

in through the window; and hearing theae atraina of the happy peasants. Haniel cone 
a madcap deaire to accompany them. Nancy and Tristan proteat, but ahe ordera ihem 
with her. Dresaea are procured and they atart for the fair, the ladiea in the diagui 
•ervant girta, and Triitan garbed aa a farmer. 



: of 



SCENE a— The Fair at Fichmond 
The scene changes to the FUchmond Fair, where a motley crowd of men and maidens 
B looking for poaitiona. Two young farmer*. Ptanlcell and Llonti, now enter, the latter 




being an orphan and adopted brother of Plankell- Ucntl'i father, on his deathbed, had 
given Huni^ff a ring, which was to be presented lo the Queen should the son ever be 
involved in difficulties. 

In this fine duet, one of the gems of Flolow's papular romantic opera, the friends apeak 
of Uonti'a father and the incident of the ring. 

254 



VICTOR BOOK OF THE OPERA— FLOTOWS MARTHA 



Solo, profuifo (Lost. Proscrib'd) 

By Enrico Caruso ■ad Marcel Jouraet (la Italian) 89036 12-iiich, *4-00 

By Van Hooie ■nd de Gotforza (/n llallan) I4005 12<iiich, UO 

Llontl tells the Uoiy of his adoption by f^unk/Ut'i fninily in the fine aria beginning — 



l tf>'lh '•J~' T~ ' ^ XV ' 



She wi 
Whe 



t fatF should cvei ( 
he. "Show it to ihi 
save vou. she will 
no other help is se< 



;-f."r. 



dship fix'A ii 



The diiguiaed ladiei now appear, accompanied by the unwilling and disgusted Tritlalt, 
ka considers the whole affair a joke in very bad taste. The two young {anneis spy the 

girls, and being much taken 
with their looks, offer to hire 
them. The ladies, carrying 
further their mad prank, ac- 
c«>t the money which is 
one red them, not knowing 
that they are legally bound 




< for 



Triita 



loudly protests, but is hooted 
off the grounds, and the 
frightened girls are taken 
away by the farmers. 

ACT n 

SCENE— ^ Famhouit 

As the curtain rises (he 

farmers enter, dragging with 

them the unwilling and ter- 

T...^ ..PINNIN.. vvuFKt. Bi-.Ttrii! ^^^^j maiden.. 

Siam (fiunti. o giovinette (This is Your Future Dwelling) 

By Franco Alda, Soprano; Josephine Jacoby. Contralto; Enrico Caruso, 

Tenor; Marcel Joumet. Bass (In Italian) 9920T IX-inch. *S.OO 

The farmers address the maidens as follows : 

Thihry^urXtSfTdwelling; ^''Al'dawn''ord=y ln"morn's first glim,«e 

^^And traveling ha< an end. Be up and sli, about; 



VICTOR BOOK OF THE OPERA — FLOTOWS MARTHA 

The quartet passage with which this record ends is one of the most beautiful in 
Flotow*8 opera. 

Che vuol dir cio (Surprised and Astounded !) 

By Frances Alda, Soprano ; Josephine Jacoby, Contralto : Enrico Caruso, 

Tenor ; Marcel Journet, Bass {In Italian) 95208 12-incli, $5.00 

When the ladies have recovered their breath and begin to realize that they are in 
no immediate danger, the temptation to plague their employers is irresistible, and when 
the young men endeavor to instruct the new servants in their 
duties the fun commences. 

At the close of the first quartet passage, MunktU shows 
the girls the door of their room. Anxious to escape from the 
scene and have an opportunity to discuss their predicament, 
they start toward their room, but Plunkeii, thinking of his 
appetite, stops them. 

Plunkett (interposing): 

Not quite so fast — 

First prepare a light repast 1 
Harriet and Nancy: 

Kitchen work! O these barbarians 1 
Lionel: 

Why not excuse them? They arc tired! 
Plunkett (firmlv): 

Too much kinclness will not do. 

However, even the grutf farmer has realized by this time 
that these are servant girls of a most unusual kind, and hesi- 
tates to scold them. 



Plunkett: 

What names bear you? 
Harriet and Nancy: 

We? 
Lionel: 

Yes, you! 
Plunkett: 

Yes, of course! 
Harriet: 

Martha is mine. 
Lionel: 
Martha? 
Plunkett (mimicking her): 
Ju-oo-olia! You're proudly nam'd 
(H'ith exaggerated courtesy.) 
Julia! Be kind enough — 
If your ladyship so please it — 
(Gruffly) 

To han{; my hat and mantle up! 
Nancy (indirinantly) : 
Do it yourself! 



Harriet: 

Yes! 
Plunkett (to Nancy): 

Well, and yours? 
Nancy (aside to Harriet) : 

(What shall I tell him?) 
Plunkett: 

Well, don't you know it? 
Nancy (hesitatingly) : 

Ju-ju- Julia I 




corv'T Duroar 

SEMBRICH AS MARTHA — ^ACT X 



girl! 



Plunkett (taken aback): 

Bold! by the prophets! 
Lionel (to Plunkett): 

Not so bluntly give your orders. 

Rather wishes breathe, like me: 

(Very politely) 

Martha, take these things, prithee! 

(Harriet takes them, but promptly throws 
on the floor.) 



them 



Astonished at such revolutionary conduct from servants, the young men exclaim : 



Lionel and Plunkett: 

Surpris'd I am and astounded. 
And I can say no more; 
Such impudence unbounded. 
Was never seen before! 



Harriet and Nancy: 

Surpris'd they are and confounded, 
Antf sorely puzzled is their brain; 
This blow has smartly sounded. 
May be they'll never try again! 



Tlie maidens determine to lead their captors a strenuous life, euid when they are 
ordered to get supper they promptly refuse. 

Presto, presto (Spinning "Wheel Quartet) 

By Frances Alda, Soprano; Josephine Jacoby, Contralto: Enrico Caruso, 

Tenor; Marcel Journet, Bass (In Italian) 95209 12- inch, $5.00 

By Victor Opera Quartet (In English) 70052 12-inch, IJ25 

Lionel and Plunkett, astonished at such signs of insubordination, unheard of in servants 
of the seventeenth century, decide to learn what accomplishments these strange domestics 
do possess, and request them to show their skill at spinning. 



256 



VICTOR BOOK OP THE OPBRA-PLOTO WS MARTHA 




Plu<ikrlli: 

harsh, you frighten Ihfm. 

it i* plainly leen that they 



r fon 



lighlly 






Whal 
Thus 



rntly R, 



nake I he i 



ong and tine! 

At the close of the quartet Nancj/ malieioualy overtuma the wheel and tuns out, pur- 
nietl by PiunktII, and lead* him a roeiry chaae, cauaing him to loae hia temper, while 
Lionel finds him«elf fallins in love with the beautiful Martha. She laugh* at him, but i> 
neverthelcH impreaaed with his good loots and manly bearing: ■<> much so that when 
he aska her to sing she consents, and taking the rose from hei bosom she sings the eiquisite 
"Last Rose of Summer." 

Last Rose of Summer 

By AdeliDB Patti. Soprano (In English) 99030 12-iiich. ti.OO 

By Luisa Tetraizini. Soprano (In Englhh) 88308 12-iach, 3.00 

By Marcella Sembrich. Soprano (In EngUih) 88102 I2-incb. 3.00 

By Alice Nielsen, Soprano (In English) T4I21 12-inch. 1.90 

ByElicabethWheeler.Soprano (Dootle-Fan./) (tn Engllth) 16813 10-inch. .T3 



VICTOR BOOK OF THE O PERA — FLOTO W'S MARTHA 

As is generally known, this air is not by Rotow, but is an old Irish tune, to which 
Moore fitted his poem. In fact, Martha undoubtedly owes much of its vogue to this 
ancient Irish air. The melody is a very old one called *' The Groves of Blarney.** Moore 
wrote the words about 1813, and they have become the most popular of all his verses. 



'Tis the last rose of summer, 

Left blooming alone; 
All her lovely companions 

Are faded and gone; 
No flower of her kindred, 

No rosebud is nigh 
To reflect back her blushes, 

Or give sigh for sigh! 



1*11 not leave thee, thou lov'd one. 

To pine on the stem; 
Since the lovely are sleeping. 

Go sleep thou with them. 
Thus kinaly I scatter 

Thy leaves o'er the bed — 
Where thy mates of the garden 

Lie scentless and dead! 



Nancy now returns, still pursued by the exasperated Plunkett. 



Plunkett: 

Don't you try this game again, girl! 

Where do you suppose she was? 

In the kitcnen was the vixen 

Breaking bottles, glasses, dishes. 

And a good deal have I suiTer'd, 
-^ Till at last I caught the lass! 
^ancy: 

I^et me go! Don't make me mad, sir. 

Or some scratching you will see! 



Plunkett {releasing her): 

Hy the prophets! she has spirit! 
I confess, that pleases me! 
Nancy {plaintively) : 

Martha ! 
Plunkett: 

Pooh! What's wrong with you now? 
.Standing as if thunder-struck! 
Get yourselves to bed, ye idlers! 
Off with you, my saucy Puck! 
(The clock strikes twelve.) 



The farmers, somewhat subdued by the knowledge that they have engaged two most 
spirited and insubordinate damsels, now bid their new-found servants good night in this 
beautiful number, one of the gems of FIotow*s opera. 

Quartetto notturno (Good Night Quartet) 

By Frances Alda, Soprano ; Josephine Jacoby, Contralto ; Enrico Caruso, 

Tenor : Marcel Journet, Bass (in Italian) 95210 12- inch, $5.00 

By Lyric Quartet (Doubk-faeed, aee page 260) {In English) 17226 10-inch. .75 



Plunkett and Lionel: 

Midnight sounds! 
Lady and Nancy: 

Midnight sounds! 
Lionel {to Martha): 

Cruel one, may dreams transport thee 

To a future rich and blest! 

And tomorrow, gently yielding, 

Smile upon me! sweetly rest! 
Plunkett (to Nancy): 

Sleep thee well, and may thy temper 

Sweeter in my service grow; 



Still your sauciness is rather 

To my liking— do you know? 
Martha and Nancy: 

Yes, good-night! such night as never 

We have lived to see before; 

Were I but away, I'd never 

Play the peasant any more! 
All: 

Good-night ! 

{Harriet and Nancy retire to their cltamber, 
and Plunkett and Lionel leave by the large 
door, locking it after them.) 



The maidens novr peep out from their room, and seeing no one, come out, and are ex- 
citedly discussing their chances of escape, when Tristan's voice is heard outside softly calling 
to them. Overjoyed, they make their escape through the window, and return to their 
home in the carriage provided by Tristan. 

ACT III 

SCENE— y4 Hunting Park in Richmond Forest 

Act III represents the Forest of Richmond, where the Queen is hunting with her attend- 
ants. The young farmers, who have sought vainly for their late servants, have come hither 
to witness the hunting and forget the two maidens who have wrought such havoc with their 
affections. 

The act opens with the spirited apostrophe to porter beer, sung by Plunkett. 



Canzone del porter (Porter Song) 

By Marcel Journet, Bass (In Italian) 

By Carlos Francisco {Double. f aced, »ee page 260) {In Italian) 

This most famous of old English beverages is highly praised by the jovial Plunkett, who 
gives it credit for much of Britain's vigorous life. 



64014 10-inch, $1.00 
16812 10-inch, .75 



258 



VICTOR BOOK OF THE OPERA — FLOTOW'S MARTHA 




Gives 

We'i^y Srit'be I^Mpy 'proui"" ' 
It guides John null, where'er he 
Through fogs and mists, through 



The farmera diaporae, leaving L\ontl BJone, and He sings liii famous " 
melodious lur of the broken-hearted lover, in which he telta of hia hopeleaa 
fair Lady Hanlcl, whom he knows only u Martha. 

M'appari (Like a Dream) 



By Enrico Caruso, Tenor 
By Ev«a -Williams. Teaor 


(/n liatlan) 8800I 12>uieh. 
(laEnglhh) T4128 12-i«ch. 


•3.00 
1.50 


Like a dream bright and fair, 

^ A'nd;hat'd°ream"ofbiiM is o'er. 
Ah: I heat now the lone 

Of ihy gentle voice no morei 


Oh! return happy hours, fraught with 1 

Come again, sunny days. 
Sunny days of pure clglight. 
Fleeting vision clolh-d in brightness. 

Wherefore thus, so soon depart; 
O'er my pathway shed thy lightness 




»t of a Udy, warmly plead, hi. love. 




in the 


Yes. 'tis Ihee; 

Once more I_ do behold Ihee! 

lAHaiET iatid!^: ' ' " "" """ 
My heart! 

LJiakrst down so proudly: 
Yet iny heart kne>,' thee at once. 
IwilICT (mift di^^ity),: 


Madman, you dream! 





No further! thou h 




VICTOR BOOK OF THE OPER A— FLOTO WS MARTHA 

LaJy Hanitt ia forced to c«ll the hunten, to whom ike declates 
t Lionel must be road. He ii dutimcted, while Plunlttit endeavors to 
isole him. The great finale, a part of which cloaca the Opera Medley 
E below), then occurs, [t i* a magnificent piece of concerted muiic 

ACTFV 
SCENE [— Hunt««-. fi.™ //»« 

Ptunlftll ia discovered alone, musing on the unhappy plight of his 
foster brother, who, since his rejection by Harriet, is inconsolable. Hb 
lings his great air, which is often omitted in American presentations of 

II mio Lionel (My Unhappy Lionel) 

By Mattia BsKistini, Baritone 

l/n Italian) »2005 ll-inch. *9.00 

-.-rbly s 

this rOte at Covent Garden 

Poor Lionel; be Bisbs. he iBiaeats. If no sit) come 

lie Ries from his friend; Fatal the hour. 

>[e is beside birnself with love Wben first bis 

Accursed be the bour Weeping, he wi 

Wben firm we saw thai air], Noufhl lo his p 

When first we brouibt her beneath our ranf! Mcrdful God. ) 
Soon will my Lionel die. Else must my I 

Nanqi now enters, and she and Ptanleell soon 
to present Llontl'i ring to the Queen, hoping thus I 

SCE>JE 11—^ Rtfireiaitallon of the RichmonJ Fair 
Llonel't ring has been shown lo the Queen, who discovers that the young man is 
really the son of the banished Earl o/ Derhg. However, he refuses to accept his Hatful 
tank and continues to brood over the insult offered him in the forest. As a but resort a 
complete reproduction of the Fair Scene of Act II ia arranged, with booths and the crowd 
of servants all represented. Hanitt, Nancy and Plankell are dressed in the costumes worn 
at their first meeting. 

Lionel is led in by Plunkdl, and when he sees Harriet in the dress of a servant, the 
cloud seems to pass from his mind and he embraces her tenderly. The two couples pledge 
their troth and all ends happily. 

E>OUBLE-FACED AND MISCELLANEOUS MARTHA RECORDS. 

{Overture to Martha By Pryor's Bandl 

Nocturne In El {Opui 9) (Oiopln) I95I33 12-inch. (1.29 

Bg Victor Sorlln. ■CellUI (Piano ace.)} 
I Last Rose of Summer By Elizabeth 'Wheeler. Soprsno] 

(In Engll>h)\lt,Bl3 10-inch. .IS 

Tannhauatr— The Eoenlng Star By Viclm Sorlin, 'Cdllil] 

[Good Night Quartet By Lyric Quartetl 

MaJrigal from " The Mikado " {Brightis Daumi our WcJJing \l T226 10-inch. .75 



Das) (GlBierl-Sulllttan) By Lyric Quartet} 



ICsnEOne del pi>rter (Porter Song) 



By Carlos Francisco. Baritone (In llallan)\ . . 

. Trooalore-II bolen del wo »rrf» {The Tempest of the Heart) '«""■* lO-iactx. .15 

I ^ Francoco OgfK^a. Baritone (In Italian)] 

Gema from Martha 

Chorus of Servants — Quartet, "Swains So Shy" — "Last Rose of Sum- 
mer " — "Good Night Quartet" — -"May Dreams Transport Thee"- — Finale, 
"Ah, May Heaven Forgive Thee." 
By the Victor Open Company (In Engllihi 31797 12-inch. 11.00 



(Inliu) 

BALLO IN MASCHERA 



(MaV 

(FiCBih) f 

BAL MASQUE 

OPERA IN THREE ACT8 



MASKED BALL 



Text by M. Somma. muaic by Verdi. First produced in Rome at the Teatro Apollo, 
Febniary 17. 1839; at Paris. Th<ttre des Italieas. Januory 13, 1661. First London production 
June 15. 1661. First New York producdon February 1 1, 1661. 



CbarMter* 

Richard. Count of Warwick and Governor of Boston Tenor 

EtElNHART. hii secretitfy Baritone 

AMEUA, wife of Reinbart Soprano 

Ulrica, a negiesa astrologer Contralto 

Oscar, a page Soprano 

TOMy^r"""^"' "' '*•" ^^"f {bI!^ 



Scene anJ PtrioJ : In and ntat Boilon, end af the leoenleenlh ctntmy. 



The opera was composed for the San Carlo. Naples, and first called Gustavo [II (after an 
assassinated Italian monarch), hut after the announcement had almost created a riot in Naples, 
Verdi was forced to change the scene from Stockholm to Boston, and the name to Masked 
Bait. Finally it was thought best to abandon the Naples premi6re altogether, and the opera 
was taken to Rome. 

There are many, of course, who consider ihia work old- 
fashioned — and so it is, not pretending at all to be a great 
music drama: but there are many far more ambitious works 
with certainly leM real music The familiar EH la and 5aper 
WHTBife and the fine concerted numbers in Acts II and 111 are 
wdl worth hearing. The Victor has assembled a very fine 
collection of the best munc in the opera, and presents it 
with the belief that this revival is the best heaiti in recent 

Richard, Count of Warwick and Governor of Boston. foUi 
in love with Amelia, the wife of Rdnhari. his secretary and 
intimate friend. This love is returned, but the wife's conscience t 
troubles her, and she consults UlHia, a black sorceress, hop- > 
ing to secure a drug that will cause her to forget Richard. 
Ulrica sends her to gather a certain herb which will prove 
effective. Richard, who had alw) gone to consult the astrolo- 
ger, overhean the conversation, and (ollowa Amelia to the magic 
spot. /Ime/fa I husband, who hascome in search of Richard to 
warn him of a conapiracy to ossaasinete him, now appears, and 
Richard makes his eacape, after requesting Relnhari to escort 
the veiled lady to her home without attempting to leam her 
identity. On the way, however, they are surrounded by the 
conspirators and Amtlia is revealed. Rtlnhart swears vengeance 
on his false friend and joins the plotters. 

At the Masked Ball, Richard ia atabbed by Relnhari, but 
the dying man declares the innocence of Amelia and (orgivi 
his murderer. 




VICTOR BOOK OP THE QPERA-TH E MASKED BALL 
ACT I 

SCENE l~A HaU In Iht Gootmor-, Hou>t 
The hall ■• filled with people — officera, deputies, gentlemen, etc. — weiling for the 
appearance of the Governor. He entera, ia warmly greeted by ihoae anembled, receives 
their petitions and incpecta a list of the gueala invited to the Muked Ball. He »ee« Amdia'a 
name, and in an aside sings his rapturous air. 

La rivedri neireatasi (I Shall Behold Her) 

By Nicola ZeroU. Tenor 

(In Italian) 64167 lO-tnch. ll.OO 
This, the first of the lovely gems with which the score 
of Ballo In Matchaa is studded, is effectively given by Zerola, 
whose beautiful voic« is shown to great advantage. 




and telb him his friends 



Rdnhari enters and tells the Governor of a plot against 
his life. 

Alia vita che t'arride (On the Life Thou | 
Now DoBt Cheriah) 

By Msttis Battistini (ItaUan) 88232 12-in.. 43.00 
ByTittsRuffo (In Italian) 81113 10-in., 2.00 
In this fine ait he enthusiastically praises RicharJ'i n 
and faithful subjects will defeat the plans of the conapin 

A negro woman. Ulrica, is now brought in and accused of being a witch. Richard 
laughs at the accusation and dismisses the woman. He calla his courtiera around him, and 
suggests that for a lark they go disguised to the hut of the sorceress and consult her. The 
friends agree, and the plotters, headed by Samaci and Tom, see a chance to further their 

SCENE II— TAe Hut nf Ulrica 
The hut is crowded with people who have come to have their fortunes told. The 
sorceress stands over her magic cauldron and sings her incantation. 

Re dell* abiaao {King of the Shades) 

By Carolina Pietrscewaks. Contralto (In Italian) 7bOOi 12-inch. «2.00 

She calls on the abyssmal king to appear and aid in her mystic rites. 
Ul«ic« {01 ifimpirrd): The ominou! lapwing. 



Thre. 



The 



II thr 



The Governor now arrives, dressed as a sailor, and accompanied by hia companions. 
They are conversing with the witch when a knock is heard, and all leave the hut by Ulrica'i 
orders except Richard, who conceals himaelf in a comer. 

Amelia entera and asks the sorceress to give her peace of mind by banishing a love 
which she cannot control The witch promises speedy relief if Amelia will gather a certain 
herb from which can be brewed a magic liquor. 

Delia citta all'occaao (Hard by the 'Weatem Portal) 

By Ida Giacomeili, Soprano ; Lina Mileri. Coatrilto; Gino 

Mar tincE-Patti, Tenor (In Italian) *68143 12-inch, *1.29 



VICTOR BOOK OF THE OPERA— THE MASKED BALL 

Amelia asks for directions, and die witch proceeds : 

Ulrica: Accurs'd, abhor'd, deserted. 

Then pause and listen. And cull the flowers lowly 

Go from the city eastward. From those black rocks unholy. 

To where by gloom engirted Where crimes have dark atonement made 

Fall the pale moonbeams on the field. With life's departing sigh I 

The frightened girl consents to go that very night, and takes her departure. Ulrica now 
admits the people again, and Richard, in the character of the sailor, asks her to tell his for- 
tune. His inquiry of the prophetess takes the form of a barcarolle — the favorite measure of a 
sea-song — and the ballad, vigorous and tuneful, has all the swing of a rollicking song of the sea. 

Di tu se fidele (The 'Waves 'Will Bear Me) 



By Enrico Caruso, Tenor, and Metropolitan Opera Chorus 

{Inltalian) 87091 



10-inch, $2.00 




bear me; 
wnom I now 



GORITZ AS SEINHAST 



This attractive ballad is full of humor, the staccato passages 
toward the close indicating the Governor's impatience to learn 
the future. In a gay mood he banters the woman, asking her 
to tell him if he will meet vrith storms on his next voyage. 

Richard: 

Declare if the waves will faithfully 

If weeping the lov'd one from whc 
tear me. 

Farewell, to me saying, my love is betraying. 

With sails rent asunaer, with soul in com- 
motion, 

I go now to steer thro' the dark waves of 
ocean, 

The anger of Heav'n and Hell to defy! 

Then haste with thy magic, the future 
exploring. 

No power have the thunder or angry winds 
roaring, 

Or death, or affection my path to deny! 

This famous Barcarolle has been a favorite with many great 

tenors, but no one has ever sung it as Caruso has given it here. 

Ulrica rebukes him, and examining his palm, tells him he is 

soon to die by the sword of that friend who shall next shake his 

hand. The conspirators, Samuel and Tom, are uneasy, thinking 

themselves suspected, but the Governor laughs and asks who will 

grasp his hand to prove the prophecy false. No one dares to 

grant his request. 

Reinhart, who has become anxious about his chief and has come in search of him, now 

enters, and seeing the Governor, shakes him by the hand, calling him by name, to the 

astonishment of all those not in the secret. Sir Richard tells the witch she is a false prophet, 

as this is his most faithful friend. 

Richard: 
The oracle has lied! 
That man who grasped mv hand 
Is my most faithful friend! 

All the people greet the Governor with cheers, and kneeling, sing the h3rmn : 

O figlio d^Inghilterra (O, Son of Glorious England) 

By Giuseppina Huffuet, Soprano ; Ines Salvador, Mezzo-Soprano ; Francesco 
Cicada, Baritone ; Aristodemo Sillich, Bass ; La Scala Chorus 

iDoul»le-Faced— See page 266) {Irt Italian) 63173 10-inch, $0.75 

Tliis noble concerted number, which closes the first act, is sung in a splendid manner 
by Huguet, Salvador, Cigada and Sillich of La Scala forces, assisted by the famous chorus 
of that opera house. 

ACT II 

SCENE I — A Field near Boston — on one side a Gallows 

Amelia, much frightened by her lonely surroundings, enters in search of the magic herb. 
She sings her dramatic air. Yonder Plant Enchanted. 



263 



VICTOR BOOK OF THE OPERA— THE MASKED BALL 
Ma dall'arido stelo divulsa (Yonder Plant Enchanted) 

{In Italian) 92000 12-inch, *3.00 
(/n Italtan) *68143 I2-iacb. 1.25 




Ah. yon mion: 

Ha!Tn°'t'h™Tt'bris''bai(f!!Ll 'a"n»i is srclhing; 
Fix'd on me Ihey ansHly burn! 
Ileign. oh, Hmv™. Thy srtcngth to impar. 
To Ihis fainling. frai-siricken Tieirl. 

The vision re»olve» itielf into Rkhard, who now 
approaches. The unhappy girl confenes that she loves 
him, but begs him to leave her. They aing a fine 

duet. 

Ah 1 qual aoave brivido (Like Dew Thy W^ords Fall on My 
Heart) 



[glow wilh love's fond passion! ' Where I had thoushi il laid 'in deilli. 

ifi, murmur ^ wilh compai-ion those gentle Returns with giant powct, the lovt- my 

Ah, would bv Heaven 'twere granted. 
To sigh (or h™ my latest breath. 



Brighl star that bidst all gloom 
My hallow'd love mshrinSig; 
mile (bus on me thou'rt shin! 
Ah. let night forever reign! 






! fro 



They are Inlemipled by the appearance of Rtlnhart, who cornea to warn Richard that 
hit enemies ate lying in wait to murder him. Richard, unwilling to leave Amelia, it forced 
to aak Rclnharl to e*cort the veiled lady to the city without seeking to discover her identity, 
Rdnharl swears to obey, and Richard makes his escape. The couple start for Boston, but 
are surrounded by the conapiralars. who take Rdnharl to be the Governor. Disappointed 
in their prey, they tear the veil from the unknown lady and Rclnharl is astounded to see that 
it is his wife. The great finale to Act II now occurs. 

Ve' se di notte qui con la sposa (Ah 1 Here by Moonlight) 

By Ida Giacomelli. Soprano i Reazo Minolfi, Baritone: Cesire Preve. Bais; 

Chorus (tnltallan) *3S1T» 12-iach. *1.25 

Amelia is overcame wilh shame, but protests her innocence. Rtlnharl bitterly upbraids 
her and denounces his false friend Richard, while the conspirators depart, anticipating the 
sensation which the city will enjoy on the morrow. 
* Dtutk-FaaJ Rtcotd—Far llllt g/ouiufk il>k k mi* 266. 



VICTOR BOOK OF THE OPERA-THE MASKED BALL 



I shall fulfill my promiu H» voice like a death warrant 

Ta take thee lo Ihe city! Dolh sound in tny car! 

ACT III 

SCENE I— A Room In Rtlnhart't Houtc 
Rdnheri i* denouncing Amelia for her auppoted crime, and finally 
decide) Co kill her. She begi to be allowed to embrat:e her child 
once more, and her huiband contenting, she goes out. Left alone, 
the unhappy man repents hia reaolution. and reaolves to apare the 
guilty woman'* life. In the greateit al the airi allotted to Rtinhart he 
■wears to avenge hi* wrong*. 

Eri tu che macchiavi quell* anima (Is It Thou ?) 

By Emilio de Gogorzi. Baritone 

(In Italian) BS324 12-iach. «9.00 
By Msttis Bsnullni (/n Italian) 92044 12-inch. 3.00 
By PraoceMia Cigada (In Italian) '35 1 79 12-inch. I ^15 
By Giuieppe de Luca {In Italian) *62086 lO-inch, .79 
Samatl and Ton enter and RelnhaH tell* them he know* of their 
plots, and will assist them, as he desires the Governor's death. They 
draw lot*, and Rdnharl i* chosen to be the assas*in. Amtlla enters in 
time to realize the slate of affairs, and is about to plead for the ^^ 
Governor's life, when Oicar, the page, enters bearing a- ' — ■*-'■ — *— 
the Masked Ball. The page, begin ' ' ' 

brilliancy of the occasion, and at 
agreeing on the password, "Death 



Di che fultfor (What Dazzling Lig)xt) 

By Giuseppina Hutfuet. Soprano: Francesco Citfada. Baritone: Carlo 

Oltoboai. Baas : Maria Griai, Soprano [In Italian) *62086 lO-inch. f0.19 



SCENE ll—Tht Gaotmors Prioate Offia 
Richard, alone, resolve* to teat the unworthy love from his heart and send Amtlla and 
Rllnhari to England. 

Ma se mV forza perderti — Romaoza (Forever to Lose Thee t) 

(Preceded by the recitative, Porse la soglia— This Afhir Must Endt) 

By Enrico Caruso.Teaor (/n Italian) B8346 12-inch, *3.00 

The recitative indicates this decision : 

RlCHASD^ 

Haply I have decided, finding peace of mind 



My ^urninR thoughts will fly to thee. Around my soul arc thronginn f 

Thoufh fate our lot may sever. When, once more to behold Ihee. 

Thy memory still enshrined shall he Seems like a fatal loneing! 

Caruso sings this lovely air with that wonderful ease of delivery and golden v 
have made him the greatest of tenors. 

A page brings a noti 
plot, but Richard resolves ro In-avi 

d/oMkiA iIJc •■ DOUBLESACED MASKED BALL RECORDS, m 



VICTOR BOOK OF THE OPERA— THE MASKED BALL 



SCENE l[I — Grand Ballrotm in the Gootmot'i Hoa 



a learn how the 




Saper vorreste — Canzone (You W^ould 
be Hearing) 



By Luui Tetrizzini. Soprano 



11. Sopra.. . 
(Inhalian) 88304 I2<iilch, *3.00 
bi reply to AcJnAarf'i quettions rike merry page tauntingly singa : 



or Idtc my heart fccli all the smart. 
Yet watchful ever, my »cm never 



Rank 



1 right e; 



Thii gay number ia brilliantly aung by Telrazzini, the high B 
in the caJtnxa being taken with eaae. 

The page finally reveala to Rtlnharl that the Governor is 
dreaaed in black, with a red ribbon on ht> breaat. 

Amelia meeta the Governor and warn* him against the plot, 
ten. He bids her farewell and ia about to go, when RtlnhaH ataba 
him. The dying Governor, supported in the armi of hia hrienda, 
tells Rdnhari that hia wife ia guiltleaa, and that to remove her from 
temptation he had planned to send Rtlnharl to England to fill an 
honored post. 

The aecretary ia overcome with remorse, and RicliarJ die^ 
after declaring that Rdnharl muat not be punished. 



DOUBLE-FACED MASKED BALL RECORDS 

I Delia citta all'occaso (Hard by the Western Portal) I 

By Giacomelli. Mileri and Martinez-Patti (/n AaJidil L-, ,. , ■, . i. 
Ma dall-arido itelo divuUa (Yonder Plant Enchanted) [»B143 12-incli. i 

By Lucia Crestani. Soprano (In llallan) | 

)Ve' «e di notte qui ci 
By Giacomelli. 
Eritu (Is it Thou?) 



By Francesco Citfada l/n Italian) I 



I Ah I qual loave brivido (Like Dew Thy 'Words Fall oo 1 
My Heart) By Giacomelli and Martinez-Panil..... ,, . . 

FmM del Dallno-Non immcon umiUaH-By Ida Clacomdli. »»W2t. iz-mctt. 

Gino Marllna-PaW and Caare Prtot (In Italian)] 

)0 fifflio d'lnshilterrs (Ob. Son of Glorious England) I 

By Huguet. Salvador. Cigada.Sillich and Chorus I/n Italian) ^631 73 lO-inch, 
Emani—Emani inaolaml By Maria Grttl. Soprano iln tiallan) I 



By Giuseppe de Luca ^n llahan)\ 



|6208« lO-inch. .75 



! Masked Ball Selection (Part of Ballet Music and the I 
Aria. "Saper vorreste," Act III) (Verdi) Vi t«u 

VeaseUa'a luUan Band '^"* 
Huguenoli — Grand SdecHon Arthur Pryor'i Band] 




MEFISTOFELE 



lEaglith.) 

MEPHISTOPHELES 



OPERA IN FOUR ACTS 




of both parts of Goethe'i "Fauat," with 
additional episodes taken Eiom ihe treat- 
ment of the legend by other authoritiei. 
The iirat production at La Scala, Milan, 
iS6S, was a failure. Rewrittenand given 
in IB75 with success. Pint London pro- 
duction July 6. IS80. First American 
production at the Academy of Music. 
November 24. 18S0, with Campanini. 
Cary and Novara. Other productions 
were in 10%, with Calv«. and in 1901 
with Mclntyie. Homer and Ploncon. 
Some recent notable revivals: At the 



Metn 



aoliti 



when the 



opera 



brought out for Chaliapine. the cast 
including Farrar and Martin, and the 
Boston Opera production of 1910, 
both noteworthy for their splendid 



Chifsctcrs 

MEFISTOFELE Baas 

Faust Tenor 

Margaret Soprano 

Martha Contralto 

Wagner Tenor 

hiELEN Soprano 

PANTAUS Contralto 

NEREUS . . Tenor 

Celestial Phalanies, Mystic Choir, 
Cherubs. Penitents, Wayfarers, Men. 
hfuntsmen. Students. Cili> 



Popula, 



eek Chor 



VICTOR BOOK OF THE OPERA— BOITO'S MEFISTOFELE 

ArHgo Bolto well dcKrves s coiupicuoua place among the Bieal modem compoaers. Hia 
MeGatofele ranks with the maiterpiecea of modem Italy, and contains ocenes of great beauty, 
notably the Garden Scene, with its lovely muaic, and the Prison Scene, in which the pathos of 
the demented Marganl's wanderings, the beautiful duet and the frenzy oi the finale a(« 
pictured by a msster hand. 

Bolto ii not only a conipoaer. but a poet of ability and ■ clever librettiBt. Notable amoDK 
hU wribnga are the librettos of Verdi's Ottllo and FaUlaff, which should rather be called 
diamas set to music, for it is unfair to cLaaa them with the old-fashioned Italian librettos. 

The story of Bolto'* opera is directly drawn from Goethe's Fautl, but the composer has 
chosen episodes from the whole of Goethe's story, not confining himself to the tale of 
Grtlchen. but including the episode of Helen of Troy. In his Mefiitoftie Bolto has followed the 
great poet's work more closely then did Gounod's librettist, and the work is a deeper one in 

PROLOGUE 

SCENE— TAe fl^tons 0/ Space 

The prologue to Bono's opera is a most impressive scene, wliich takes place in the indef- 
inite regions of space. Invisible angels and cherubim, supported by the celestial trumpets, 
sing in pnise of the Ruler of the Universe, 

M^aiofde is represented hovering between Hell and Earth, denying the ppwer of God. 
He addresses the Almighty in his Hail, Gnat LordI 

Ave Si^nor (Hail, Sovereign Lord) 

By Msrcel Journet, Bass Ih Italian) 64126 lO-inch. tLOO 

The Devil contends that man il but a weakling, easily cheated of his salvation. Standing 

on a cloud M^fitla/tle mockingly addresses the Creator : 



Ibil, 

Fotgi 


v^'mV 


If 


1 La 

lit 


&,« 


borne 


what behii 


. fsllin 


Tbo» 


: sublii 








In hrsvenly 


pit 


ices! 




Forgi 




i! my f 


aceii 


No* 






he r 


adianci 


Thil, 




[i ' 


1 gai 


rland, 


Tht . 


:hen.b 


}'^ 






Forgi 




if 1 








Hsk 




m Mkiog" 


s 


Tzl 


i 


of 


pu„y, 


And 


like ■ 




;k"" 


'"wiir 


■Mid 


.l.r> 1 








Then 




lupe 


Tb" 


aiuily" 




with ' 


pnd 






Vain. 
Prou. 


,e? 




a ton- 


'■ , 




Then, discussing Faail with the Mystic Oiorus, Mtfiatofdt wagers that he can entice the 
philosopher from the path of virtue. The challenge is accepted, and Mefiiloftlt disappears 
to begin his plots a^nst the soul of Faait. 

Joumet sings this great number splendidly, and il vnll be pronounced one of the most 
striking features of his Victor list 

ACT I 
SC£N£ I— A Sqaart In Frankfort—Eaita Sunday 

The aged philosopher. Fatal, and hia pupil Wafner, while mingling with the crowd, 
observe a grey Friar who seems to be shadowing their movements. Fault is alarmed and 
says to Wagna: 

Wacnei: Some lowly Friar, who begs alms from tbose be paaiei. 



VICTOR BOOK OF THE OPERA— BOITO'S MEFISTOFELE 

Faust: Look more closely. He moves slowly on in lessening circles; and with each spiral, comes 

ever nearer and nearer. Oh! as I gaze, I see his footprints marked in fire! 
Wagnek: No. master, 'tis some idle fancy that thy brain deceives thee; 1 only see there a poor 

grey friar. Timidly he ventures to approach us, and we are to him but two passing strangers. 
Faust: Now he seems as though he wove nets about our path. His circles grow smaller! He 

draweth close! Ah! 
Wagnek (carelessly) : Look calmly. 'Tis a grey friar, and not a specter. Muttering his prayers, 

he tells his beads as he journeys. Come hence, good master. 

As they leave the square, followed by the Friar, the scene changes to Fauat 's laboratory. 

SCENE II - The Studio of Faust It is Night 
Faust enters, not observing that the Friar slips in behind him, and conceals himself in 
an alcove. The aged philosopher delivers his soliloquy, Dai campi. 

Dai catnpi, dai prati (From the Green Fields) 

By John McCormack, Tenor (/n Italian) 64303 1 0-inch, $ 1 .00 

By Alberto Amadi, Tenor (Doabte-FaeeJ) {In Italian) 63313 10-inch, .75 

He speaks of his deep contentment, his love for God and his fellow man. 

Faust : 

From the meadows, from the valleys, which Its love for its God I 

lie bathed in moonlight, Ah! From the meadows, from the valley^. 

And where paths silent sleep, I come return- I come to read the blest Evangels; 

ing; my soul filled Who delight me, and fill me with holy fire! 

With calmness, mysterious and deep. (Opens a Bible placed upon a high reading 

The passions, the heart rudely trying, desk. As he begins to meditate he %s 

In quiet oblivion are l)^ing; startled by a cry from the Friar in the 

My spirit knows only its love for its fellows; alcove.) 

This is one of the most beautiful of all Italian operatic airs, and is sung by Mr. McCor- 
mack with a loveliness of tone which makes every note a delight, while a lower-priced 
rendition, and an excellent one, is furnished by Mr. Amadi. 

The Friar appears, and throwing otf his disguise, reveals himself as the Devil, singing a 
splendid aria, / Am the Spirit. 

Ballata del fischio, "" Son lo spirito** (I Atn the Spirit) 

By Marcel Journet, Bass {In Italian) 74210 12-inch, $1.50 

Mefistofele says that he is that great force which forever thinketh ill but doeth "well, and 
then continues : 

Mepistofele: 

I*m the spirit that denieth all things, alwa]^s; On I go, whistling! whistling! Eh! 

Stars or flowers — that by sneers and strife Part am I of that condition, 

supplieth Of the whole obscurity. 

Cause to vex the Heavenly powers. Child of darkness and ambition, 

I'm for Naught and for Creation, Shadows hiding, wait for me. 

Ruin universal, death! If the light usurps, contending. 

And my very life and breath. On my rebel scepter's right, 

Is what here they call transgression, sin and Not prolong'd will be the fi{rht, 

Death ! Over sun and earth is pending. 

Shouting and laughing out this word I throw: Endless night! 

"No!" Sland'ring, wasting, howling, hissing. Shouting and laughing, etc. 

This is sometimes called Ballata del fischio, or IVhistling Ballad, because of the peculiar 
"whistles Bolto has introduced in the number. Joumet delivers this splendid number with 
admirable declamatory pow^er, bringing out the strange symbolism of the climax in a thrill- 
ing manner. 

Mrfstofele otfers to be Faust's servant if he will accompany him. "What is the price?** 
asks the philosopher. ** Up here I will obey thee,** says Mefistofele, ** but below our places 
will be reversed.** Faust says he cares nothing for the future, and if Mefistofele can give him 
but one hour of happiness, for that one hour he would sell his soul. The bargain is made 
and they set forth. 

This departure from the laboratory of Faust is strikingly pictured in the great painting of 
Kreling, a reproduction of which is given on page 267. 

ACT II 

SCENE — The Garden of Margaret 

Faust (now a handsome young man known as Henry) is strolling in the garden with 
Margaret, while M^stofele, as in Gounod*s version, makes sarcastic love to Martha, w^hom 
Bolto has pictured as Margaret's mother. Faust pleads for a meeting alone with the maiden, 

NOTE — Mefistofele quoUtioos are from the Dilson Kbretto. by permimoo. (Copy't 1660. Oliver DitMn Company) 

269 



VICTOR BOOK OF THE OPERA— BOITO'S MEFISTOFBLE 



but (he dares not consent because hei mother sleeps lightly. 
He gives her a sleepiiiB diaught. BBSuiiiiB her Chst it will 
not harm her mother, but merely cause her lo sleep aauiidly. 
The four then sing a fine quartet, and the scene suddenly 
changes to the Brocken. 

SCE:SZ \l—Thc Summit of Ihc Bncken 
This scene shows a wild spot in the Brocken moun- 
tains by moonlight The wind is whistling in weird gusts. 
Mtfiati^tte is helping Faait to climb the jagged rocks, from 
which fiBmea now and then dart forth. Will -o. the. wisps 
flutter to and fro, and Faatt welcomes them, grateful for 
the light they give. 

FoUetto, foUetto (Sprites of Hades) 
By de Tura, Msnsueto, and Chorus 

iln Italian) 87061 lO-inch. 12.00 
M^itof tit erhoe* him. ever urging him to climb higher. 

Mefistofele: 

tome up higher, and higher, ind higher. 

Further yqPlis more drrary the road 

That will lesd ih to SaUn'a abode! 
Faubt: 

Ah: wild-fire, pallid light. 



To illumine our way. 
Come flame wildly dancii 
Come Higher, and nigher 




i 


^T^' 

w- 

'■"^'^■h^ 


*^SSii* -; 


ii >i^^5£ 


-^^■J^ 
*■ ] ■ 


^19 


f ^^ 


~~^ "T-"?^ 



Amving at the summit, Mtfiitofde 
summons the infernal host — demons, 
witches, wizards, goblins, imps — and 
presides over the salanic orgies as King. 
All pay him homage and dance in wild- 
est joy as he breaks into fragments a 
glass globe, typifying the earth, crying: 
rface vile races dwell, de- 



raded. 



lilsom 



relin 



themselves. They laugh at me, but I 
can laugh alsol" 

Faail now sees a vision of Maigartt. 
on her way lo prison for the iliurder of 
her mother and her babe. A red stain 
on her neck horrilies him. hut Mtfiitc/ele 
laughs and says, "Turn away your 



The, 



clos 



orgy, 
eing in 



whirling and dt 
a mad revelry. This wild 
giaphically pictured in Kreling'i 



ACT III 

SCENE— rAe Pnjon of MorganI 



The d. 


-mented 


gifl 








les herself and 


herK»lbalh 


sd, L-alt, 


V RC 


■Ite. 



L'altra notte (Last Night in 
the Deep Seal 



VICTOR BOOK OF THE OPERA— BOITO'S MEFISTOFELE 




le ravel of the cruel )u)on, whom ahe 
be inK) the ocean aiul now BCcuie her o 

M*«CA>EI: 
To Ihi: tes. O nighl of sadaessi 
They my bsbc look and in il threw hin 
Now In drive me on to madness. 
They declare 'Iwas I that slew him! 
Cold the air it, the dark «LI narrow, 
And my spirit hioken lo-day. 
Like the timid woodland spacrow. 
Lang> Id fly; ah. la fly off. far. far aw 

In a'dealhly'^iiinbTr falling. 



M^tlafdt now enten, (ollowed by Feail. who begs 
the demon to uve Matganl. The fiend remind* FauMl 
that it ia hli own fault, but promUea Co tiy. and goeiout. 

Faiui goea to Margaret, who doea not know him and 
ia frightened, thinking her jailera have come for her. 
He uraea her to fly with him, and they aing a tender 
duet. Far AiBay, 

Lontano. lontano (Away From All 
Strife) 



By GiuMppini Huguet. Soprano, 
and Geanaro de Tiira, Tenor 
(/n Italian) 
87056 lO-JDch, »2.00 



■.Mid palm tr 


C! and fton-'rs in profujion. 


Kc;-L,- 




There, skies 


n their beauty Iramicendent. 


S««n girt w 


'.un-"i"p^"g ^^ir"'"'- 


Reflecting Ih 


The flight of 


ail hearts that are loving, 


And hnrieful and niovine and roving," 
1» turned towards that rife-KiviOR isTand- 






The return of MifidoftU drive. 


MargartI int 


■ frenzy, and ahe refuaea 


to leave the 


priaon. finally falling into 


Faust-t arma 


in her death agony. Her 




ing for a brief period, ahe 




and dies, while a choru. 


of celeatial 


beings announce that her 


aoul ia aaved 


Faa,t and Mtfi>tf,fdt dl.. 


appear juat a 




come to conduct Margaret to execution. 



ACT IV 

The Night oftht Claalcal Sabltalh 




VICTOR BOOK OP THE OPERA— BOITO'S MEFISTOFELE 



the beoutiful Htkn of Troy (or the further temptation of Fautt The (cene ahows an en- 
chanting ipot on the bank* of the Peneus, with the moon iheddiiif a golden light upon 
Hiltn, Panlalli and group* of Sirena. Htlen begin* her enchanting ode to the moon. foU 
lowed by the trio. 

Scena della Grecia — La luna immobile (Moon Immovable t) 

By N. Ardoni, Soprano; Lavin de Ca*aa, MeEEo-Sopraoo : Gaetaoo 

Pini-Coni. Tenor (tn kalian) S706S lO-ioch. *2.00 

Faati and Mefiilofde enlei and the fonner Kxnt forget* all elae in Aie love of the fair 

Grecian. MtfitteftU, however, feet* out of place in thi* clasnc neighborhood, and leaving 

Fautt in the arm* of Htlen, return* to the Brocken, where he amuae* himaeU with hia 

aa niccrew. EPILOGUE 

SCENE— Ffluj/'» SUidIo 
Fautl haa returned to hia atudio. again old and feeble and full of remorae for his past life. 
He haa taaled the pleaaurea of earth and found them empty. He sing* hi* famous epilogue : 

Giunto sul pasao (Nearing the End of Life) 

By Alberto Amadi <D«iU>./aocJ) (In Italian) 63313 lo-mch. (0.79 









King of somr p&cid region, unknown to car* and sltiving, 
I found B faitbful people and fain would aid thrir living. 
Mt'. would then (hat ihJs fair vision could but be my. Uct dream! 

Holy 'ongB™now 7"lieaT/ "' 

Now I bathe in Ihc radiant splendor of Heaven's glorious morning! 

Ideal bliss upon my soul is alrradr dawning: 

Mtfiiloftit entera (or hia final triumph, but Faial tutna to the Bible and leek* aalvation. 
Mefiito/ele, in deapention. *ummon* the Sirena to hi* aid. but Faaal, leaning on the sacred 
book prays (or (orgivenesa, and the defeated M^tta/tU aink* into the ground. A slwiwer 
' 1. a token of FauU '* *alvation. Ula on the dsHng man aa the curtain deacenda. 




DIE MEISTERSINGER THE MASTERSINGERS 

OPERA IN THREE ACTS 

Both text and muiic aS Die Mclslcnlngtr von NOmierg aie by Wagner. The idea 
of the opera was BUgguted to the compocer in boyhood, tu was TannhSuoer, by the reading 
of one oS Hoffmann's novel*, and was planned u a kind of burlesque of the Minneilnger con- 
test In Tannhauier. First production in Munich, June 21, IS6fi. 

The first performance in Ejigland took place under Ftichter. at Diury Lane, May 30, 
1882; an Italian version was given at Covent Garden. July 13, 1869, and an English produC' 
tion by the Carl Rasa Company at Manchester, April 16, 1696. 

In 1888 it was given for the first time at Ba)Teuth; and the first American productioo 
took place in New York, January 4, 1886. 




Chari 

Hans Sachs, cobbler, ] 

POGNER. goldsmith, 
VOGELCESANG, furrier, 
NACHTIGAL. buckle make 
BECKMESSER, town clerk. 
KOTHNER, baker. 
ZOftN, pewterer. 



a young 






MOSER. tailor, 
ORTEU soap boiler, 
SCHWARZ, stocking weaver, 
FOLZ, coppersmith. 

Sir Walter Von Stolonc. 

conian knight 

David, apprentice to Hans Sachs 

Eva, Pogner's daughter 

>r UEiSTEB- MAGDALENA, Eva's nurse 

:h, iS6S ^ NIGHT WATCHMAN 

ters of all Guilds. Journeymen, Apprentices. Girls and People. 

Scene : Namnierg In the middle of the alxleenlh century. 

s the moat 
. ind tunefulness are 
isily understood by an audience, which 
cannot be said of most of the works by the master. 

The humor is essentially German,— ^an intermingling of play- 
fulness, satire, practical jokes, and underneath all something of 
seriousness and even sadness, while the romantic element, provided 
by the lovers. Eva and Waller, is not lacking. 

The opera ia a satire on the musical methods of the days of 
the Reformation, the medieeval burgher's life in Nuremberg being 
pictured with a master hand. The loves of Waller and Eoa ; the 
noble philosophy of Sachi, the cobbler - poet ; the envy of the ridicu- 
lous Beckmeuer : and the youthful frolics of David — all are surrounded 
by some of the moat glorious music imaginable. 

The first act opens in St. Catherine's Church at Nuremberg. 
where Eva, daughter of the wealthy goldsmith Pogrter, and Waller, a 
273 



Bass 
Bass 



Bass 

Bass 
Bass 



. .Soprano 
Bass 







VICTOR BOOK OF THE OPERA — THE M ASTERSING ERS 




. f<" 



bdor 



iCins of Ma. 
■ingeii. Becl^maitr, who also 
wishei to marry Eoa, im choaen 
marker, and under the rigid 
rule, of the order gives Walltr 
to many bad marka that he V 
rejecleil in apite of the influ- 
ence of Ham Sachi in hia 

Act [I ahowa a atreeC, with 
the houaes of Ham Sacfa and 
Rijneron opposite sides. The 
apprenncea. who arc putting 
up the shulteia. plague Daoid 
on hia affection for MagdaUna. 
Eoa 'i nurac. Sac/a drives 
them away and senda Dade 
to bed, then sita down in hia 
doorway and aohloquizes. 



which fValltr delivered before the Master*] 



He I 



I the I 



1 in 



still. 



all ihis poetry m: 

forpcl It. — anti yrt cannot gr 

it'^m"" L at}'. y/l^^wTn ils'' ?^m' 

Like *DnR< o( birds in swcl'I May-tim 

Spring's comirand 

And gentle hand 

tlis snul H'ilh this did entrust: 

lie sang bccaii^ he must: 
Eoa now leams of IValltr't rejection, and 
that she promiaea to elope wilb him. The l( 
rupled and forced to hide by Becj^eucr, who 
Eoa's window for the double purpose of i 
and rehearaing the song he is to sing for [hi 
morrow. Han, Sach,. hearing thetinklingof the lute, pe 
out, and just as Bed^neticr begins to sing Sachs breaka 
into a jolly folk aong. 




s hv II 



Beci^naitria greatly annoyed and aaya SacA< must be drunk. After a long altercation with 
the cobbler, Btckmaitr finally starts his song, but as 5acAa continues to hammer on his shoe at 
each mistake orwrongaccent,Sec^<uergetabad!y mixed, and delivers himselfof this doggerel: 

1 see the dawning daylight, lly her loved fslher. 

With great iileasure f do: At his wi'h rather, 

For now my heart l»ke'< a right To he »ed dolli go in. 
Cournflf holh fresh and new. The hold man who 

I do not Ihtnk of dying. Would eome and view. 



'".•("i 



VICTOR BOOK OF THE OPERA — THE M ASTERSING ERS 






: neighbora now begin to pul their beaila out tka 
inquiie who ii bnwling there so late. Magdalaia 
opens t.oa'3 window and lignals to Beckmaxr to go away: 
but DmlJ, thinking she is waving her hand at the marker, 
become! jealouB and attacks Becltmattr. The noise bring* 
everyone into the street, and the curtain falls on something 
resembling a riot. 

Act 111 opens in Sachi' workshop. IVailtt, who had 
spent the night with Sach), comes in and tells the cobbler 
c^ a wonderful melody which had come to him in a dream. 
They write it down and leave it on the table. iVallet goes out 
and Beckmeiaei enters, sees the song, and questions Sachs about 
it. Sacka makes him believe it is hii own and offers to give 
it to him. having conceived a plan to force the Mastersingeri 
lo consent to the appearance of iValltr. Becj^meucr is 
overioyed end runs out to learn the song. Eea enters to 
get a shoe lined, and then occurs the great scene in which 
the famous quintet is sung. The young girl, who has just 
had fully revealed to her the noble character of Ham Sacha, 
turns lo the good ^oemaker, and with a grateful heart sings — 

Eva: 
Thmiiiih Ihce life's ucasan 



And were itiy choice but free. 
Tis you would piMse my eye*: 
My husband yoii should be. 




To find the man befor 




VICTOR BOOK OF THE OPERA— THE M ASTERSI N G ERS 

He calli in Magdaltita anil DavlJ, who ace drcHeil for the fettival, and tella them he 
wiihes them for witneases foi a chnMening. All look amazed, and Sachi eiplains that he 
wiihes CO christen Sir Walltr's MaMei Song. A> no apprentice can be a witneu, Sacht »at- 
priaes Daoid by creating him a joumeyman. Eea then commence! the Qufnfctle of Baptlim 
with a skoTt solo, beginning: 




Is iny'hcarTunEfddEn; 



Hani Sachi (w'tA , 

To Ihe maid 1 fa 

Of tny Kcrrl hi 

But to tell my he 

Now it is forbiddcDl 

SCENE 11—^ Rdd on iht Shorn <^ Iht Rlov PtgnlU 
The acene auddenly changea to an open meadow on the 
ban^ of the Pegnitt, where the conteat ia to be held. The 
apectacle ia a brilliant one, with gaily decorated boats dis. 
charging the varioua Guilds, with the wivei and Familiea of the 
members. It is in this scene that the famoua March of the 
Guilds is played. A fine rendition of this number has been 
given by Souaa'a Band. 

March of the Guilds 

By Sousa'a Band 39044 12-lt)ch, *U5 

The Maslersingera now 
I arrange their procession and 
1 march to take their places on 
epUtform. 

When all are assembled. 
I SocAt rises, and in a noble 
I addreaa alatea the ternis of 





Hi> 


i,r,',T £ 


hiid. , 


ht highcM prii 




















t^ctor^ 


.nf 




























^l 


.Sra 


■.^"ml 


J ffS^>.„ 



VICTOR BOOK OF THE OPERA — THE MASTERSIMG ERS 




Btdplltuer, who is in sn Bwhil itate with his eflaiti to commit 
fVatttr'i tong to memoiy, wipes hi* heated biow and bee[in>. He 
canfu«es kia old melody with the new one, loses his place, mixes 
hia linea, and i> forced by the laughter of the people to atop. 
In a towering rage he sccuaea Sachi of plotting hia defeat, then 
Bing* down the song and rushes off. Sachi calmly pick* up the 
scroll and rematka that the song ia a very fine one. but that it 
mual be rendered properly. The Masteraingera accuae him of 
joking, but he declares: 

Sachs: I tell you, sirs, the work is fine; 

Thai Beclcmesser has sung it wrung. 





And he who does will thut make ki 




That he composed them, clearly; 




A Masler-s name. too. he should owi 




, iTSJi-'.irt.vsa 




A witness let me bid attend! 




Is there one here who knows I'm r 




Let him appear before our sight. 




((To/Mr idvancis amid a a'«'ral i 


LUTUS 


Ah. Sachst You're very sly indeed 




But you may for this once proceed 


Sack. 


It shows our rules are of excellence 




If now and then exceptions they'll 
: A noble witness, proud and bold! 
Melfainks he shoufd some good unfo 


Pkopl 




Sachs 


Masters and people all agree 




ls;'w.-„7.r"a.',t:".i..». 



The Martersingers agree that WalUr may attempt the air, and he mounu the platfot 
and sings the noble Prize Song, 

Preislied (Prize Song) 

By Evan Williams (/n Engllth) I4I19 12-uich. •! ' 

By Mischa Elman. Violinist 74166 12-inch. I 

By Lambert Murphy. Tenor (In Gtrman) 700B0 12-inch, I 

By Sou«a*i Band {Dimikk.factJ, mt pagt 246) \15044 12-incIi. 1 

By Victor Sorlin, 'Cellist (Dooifc/om/. « mw 2-i6) *35] H 12 -inch, i 

Walteb (cuAo hai aictndtd la Ihr phlfoTm with 
firm and proud Heps) : 
Morning, was gleaming with roseate light. 



(Tkt Maairi hirt. -blarbtd. lei 


fall 






Waltrr tnottj llie song: ht noticii 




»uj liimxne 10 Iff sp. and <•«»> pre 




a freer ttyle.) 




Wherein, beneath „ wondrous tree 




With frull superbly laden. 








The rare and lender maiden, 




Whose charms beyond all price. 








Eva, in Paradise! 




HE People (loflly In one onolAer); 




That is quite' dSfferenl! Who would 




That so much in performance lies? 








Evening fell and nigbt closed aroun 


: 


aisfSd-i, , 






VICTOR BOOK OF THE OPERA — THE M ASTERSIN G ERS 






KOPLE (.accompanying tht do 
flivt him ifit priHl 



Glorifird 






Several vocal and instrumental rendidona ol thit lovely tong are given. Mr. Murphy 
give* a splendid rendition in German, Mr. William* ainga it beautifully in the purest of 
Engliah, while the inalru mental performance* by Souu and Sorlin are most pleasing. 
Elman give* the arrangement by Wilhelm) of the PrtlabeJ, which has often been given 
in America, and plays it with a marvelous softness and purity of tone which will delight 

Eoe, who has listened with rapt attention, now advances to the edge of the platform 
and place* on the head of Waller, who kneel* on the steps, a wreath of myrtle and laurel, 
then leads him to her father, before whom they both kneel. Pogntr extends his hands in 
benediction over them, 

Walter and Eaa lean against SacJu, one on each side, while Pogntr sinks on his knee before 
him as if in homage. The Mastersingers point to Sachi, with outstretched hand*, as to their 
chief, while the 'prentice* clap hands and shout and the people wave hats and kerchiefs In 
enthusiasm. 



DOUBLE-PACED MEISTERSINGER RECORDS 



By Sousa's Band) 

By Victor Sorlin. 'Celliitl , 

Ba PryorS Bandf' 

By Li Scali Orcheatra), 



35044 12-inch. 11.29 




(Pnagb) 

MIGNON MIGNON 

OPERA IN THREE ACTS 
Text by Barbier and CBire. baaed upon Coethe'a Wtlhtlm Mtlilei. Miuic by Ambroise 
Tboma*. Firil production at the Op^ia Gunr^u^ Pari*, in 1666. In London at Drury Lane, 
1870. FirM New York producbon November 22. 1872, with NiU«on. Duval and Capoul. 

Character* of the Drama 

MICNON. a young girl «tolen by gypaiea Meso-Soprano 

FlUNA. (fi/Jo.'«*t an actreaa Soprano 

FREDERICK, a young nobleman . Contralto 

WlLHELM MEISTER. a itudent Tenor 

LAEBTESi (LaaZ-fc") an actor Tenor 

Lothario, (LauM^aA'-is-eA) an Italian nobleman Baan Cantanle 

GlARNO, (/oV'-no) a gypsy Bass 

Townafolk, Peaaanta, Gypaiea, Actor* and Actrenes. 

TTit scene of AeU I and II li laid in Gtimany ; e{ Act III In Italy. 

Overture 

Pan I and Part II By La Seala Orchenra *68025 Il-ineh. tl^S 

By Pryor'i Band 31336 12-inch, l.OO 

The overture i> full of the grace and delicacy for 

which Thomas' music is celebrated, and contains the 

principal themea. notably Flllna'i dashing "Polonaise." 

The Pryor record la a fine example of the perfection at- 
tained in the playing of this organization. Every detail 

of the wonderful instrumentation which Thomas ha* 

written, and especially the passages for the wood.- wind, 

is clearly brought out. A line orchestral rendition by 

the La Scala players, in two parts, is also offered. 
ACT I 

SCENE— Cwrtjion/ of a German Inn 

Mlgnon, a daughter of noble parents, was stolen 
when a child by gypsies, and a* the act opens is a 
girl of seventeen, forced to dance in the public atrceta 
by the brutal Giarno, chief of the gypsy band. 

The first scene shows the courtyard of a German 
inn. ^vhere townspeople and travelers are drinking. 
After the vigoroua opening chorus, aung here by the 
La Scala forces, Lothario, a wandering minstrel, entera 

Opening Chorus and Solo, " Fugtfitivo 
e tremante" (A Lonely "Wanaerer) 

By Perell6 de Se^rola, BaM, imrmi a< uichox 

and La Scala Choru* 

(/n Italian) *59004 12-iach. (LSO 

Fuggitivo e tremante (A Lonely Wanderer) 

By Cesare Preve, Bass (/n Italian) '626»0 lO-inch. *0.75 

The minstrel is in reality Mignon'a father, whose mind was affected by his daughter's 

abduction, and he wanders about ' ' 




.cly « 



I < 



• Dad^-Faeei Rmti—Far (Mfc nfttftMi iMb « DOIIBLE-FACED MIGNON RECORDS, (n 



VICTOR BOOK OF THE OPER A— T HOMAS' MIGNON 



The gyp*r btmi] •ppears and Mignon u ordereil to dwice by Glamo, who threntena her 
wilh hia Mick when the wearily refiues. tVltlitlm, a young atudent, protects her from the 
Byp^ and questions her about her parents. She remembers but little, but tells him of her 
impreuion of home in this lovely ConnaiM'iu le paya, full of tendei beauty. 
(Pruch) (Enduh) 

Connais-tu le pays ? (Knowest Thou the Land?) 

(Ocrmu) (Itslisa) 

Keonat du das Land? Noo conosci il bel suol ? 

By MarcelU Sembrich, Soprano (In Fitnch) 69098 ll-rnch. tS.OO 

By EraesdaeSchununn-Heink.CoatTBlto (inCaman) 8S090 12-inch, 3.00 
By Gcnildine Farrar. Soprano (/n FrcncA) 8B21 1 12-illcb. 3XK> 

By Emmy D«alinn, Soprano (/n German) 91083 lO-inch. 2.00 

By Gitiaeppioa Husuet, Soprano (In Italian) *3S1I8 12-inch. 1.23 

Five records of this beautiful air, in French, German and Italian, by Gve famous singen, 
ranging in price from $1.25 to $3.00. are listed here for a choice. 

This air is one of the happiest inspirations of the campoaa. It ia aaid that much of its 
charm comes from Thomas' intimate study of Scheffer'a painting, " Mignon." At any rate he has 

sense of Coethi 



- (/ = !».) 




gives us an idea of the 
sionate longing 



beautiful in the entire range of opera. Thepas- 



of the orphan n .. . Km"™- , , /. 

child for her l A Ufl ^ wJ.- J J I 

childhood home ^y " ' H «'-FT'^-'^--*. g 



^m. 



ia effectively e 

pressed in this '"i frti.. -tu itrti 

superb climax: 

in which Mignon seems to pour forth her whole heart ii 

Bood of emotion. The words are most beautiful ones. 

Knoweat Thou th* LaadT 

Knowist Ihau yondrr land where the orange grows, 
Where Ihc fruit is of gold, and so fair the roK^ 
Where (he breeie gemly wafts the song of birdi. 



Spring eternally reign 






IVllhelm. full of pity for the helpless girl, offers Qamo 
a sum of money to release her, and goes into the inn to 
complete the bargain. Latharh comea to Mignon to bid her 
farewell, saying he must go south, following the swallows. 

Then occurs the beautiful "Swallow Duet." one of the 
gems of the opera. 

Les hiroadelles (5on{ of the Swallows) 



* Da.ik-FaaJ Ft, 



•Id, ^ DOUBLE-FACED MIGNON RECORDS, 




BOOK OF THE OPER A— T HOMAS' MIGNON 




Mionon: (occempain-ina heriilf b 
Oh swillows B»y anif blithe, 
Yc jay of every land, 
ynfold your Renlle wings. 



W'h. 



hcd-fDi 



Tkr' 



Right joyoi 
The etfectiveneu of Thoinaa' exquiwie (coie de- 
pends very much on the perfection of iti lendering; 
and thia ia opecially true of the £rsl act music — the 
Connaii'la, Lothario'i song, and this serene and beauli- 
ful duet, given so charmingly here. 

Very little need be Bsid about MUs Farrar's 
familial impersonBtian of Mignon. Il is always de- 
lightful, both to eye and ear. Joumet sings the music 
of Lothario with dignity and beauty oE voice; while 
Farrai's every note is exquisite in its loveliness. 

'*''^^'''' ^ "'>'* '""''^d to go to the Castle of Prince 

* Titfftttbach with the troupe of players, headed by the 

lovely Fitlna, who has observed the handsome student 

with an appreciative eye. He hesitates, thinking of Mignon, but she begs to be allowed to 

accompany him disguised as a 




fVlUitbn Anally yields a reluctant consent, 
not knowing what else to do. and the act 
ends with the departure of the players. 



VICTOR BOOK OF THE O P E R A— T H O M A S ' MIGNON 

ACT II 

SCENE \^A Boudoir in Tieffenbach Castle 

Act II represents a room in the Prince's castle. Filina is seated in front of her toilet 
table, musing on the handsome Wilhelm, who has made a deep impression on her some- 
what volatile affections. Wilhelm enters with Mignon, who meets with a cool reception 
from the gay actress. Wilhelm makes love to Filina while Mignon watches them with a 
sad heart, as she has learned to love her new master. When left alone, she tries by 
the aid of Filina* s rouge to make her complexion as beautiful as that of the actress 
who has dazzled her master, and, noting the effect in the glass, sings a gay song with 
an odd refrain, called by the composer ** Styrienne." 

Styrienne, ** Je connais ** (I Knoi^v a Poor Maiden) 

By Geraldine Farrar, Soprano {In French) 88152 ll-inch, $3.00 

Miss Farrar has given us a charming rendition of this Mignon air, which (next to the 
well-known Connais-tu) is the favorite one in the opera. 

Mignon: 

Well I know a poor young child, I fain would turn away, 

A sad young child of Bohemia, But so improved am seeming. 

On whose pale sunken checks joy ne*er rested, Am I the same, or dreaming f 

Ah! ah! ah! ah! what a dull story! Ah! Ah! la la 

I cannot leave the flass. Am I still Mignon? 

So much improved Tm seeming, No! no! 'tis I no longer! 

Am I the same, or dreaming? But then! 'tis not she either! 

Ah! la la. Some other secrets she must have her charms 

(Looking in the glass) : to heighten. 

Am I still Mignon? (Opens the door of the dressing room): 

Can it be Mignon that I see? Is it not there she keeps her gayest dresses? 

One fine day, the child in play. Yes! alas! were I Filina, would he love me 

A stratagem boldly trying, as well? 

To the master's good pleasure applying. What idle folly! (From the DitMii Mere. 

Ah! ah! ah! what a foolish story! *Tis a demon now tempts me! Copv'tmso.) 

Miss Farrar sings this quaint and fascinating ** Styrienne** -with the child-like gaiety and 
charm which belong to it ; and her voice is as pure and true as a flute when she reaches 
the high D at the end of the air. 

Mignon now goes into the closet, and after IVilhelm has returned makes her appearance 
in one of Filina* s dresses. He tells her in a beautiful air that he must leave her. 

Addio, Mignon (Farei^vrell, Mignon) 

By M. R^gis, Tenor {In French) *45023 10-inch, $1.00 

By Emilio Perea, Tenor {Piano ace.) {In Italian) *63420 10-inch, .75 

Mignon utters a cry of grief and begins to weep, while IVilhelm tenderly says : 

Wilhelm : 

Farewell, Mignon, take heart! 

Thy tears restrain! 

In the bright years of youth no grief doth 

linger long. 
Weep not, Mignon! 
O'er thee just Heaven will watch with fost'- 

ring care. 
Oh, may'st thou thy dear native land once 

more regain! 
May fortune on thy fate henceforth benignly 

smile! 
It pains me much to leave thee: my stricken 

heart 
With thy lone destiny will ever sympathize! 
Farewell, Mignon. take heart! 
Then dry thy tears. 

Mignon refuses money which he offers her, and is about to bid him farewell vrhen 
Filina enters, and seeing Migrton in one of her own dresses, eyes her with sarcastic amuse- 
ment, which puts Mignon into a jealous rage and she rushes into the cabinet, tears off the 
borrowed finery and puts on her gjrpsy garments. 

SCENE \\—The Gardens of the Castle 

The scene changes to the park of the castle. Mignon, in despair, attempts to throw 
herself into the lake, but is prevented by Lothario, w^ho consoles her. In a fit of jealousy she 

* DouUe-FaceJ Record— For tUit o/ofipoMe tide «ee DOUBLE-FACED MIGNON RECORDS, page 285. 

283 



VICTOR BOOK OF THE O P E R A— T H O M A S ' MIGNON 



wishes that fire would consume the castle in which Filina had won her master s affections. 
Lothario is puzzled by this and goes off muttering to himself. 

The actors and guests now issue from the castle proclaiming the beauty and talent of 
Filina. In the flush of her triumph she sings the brilliant Polonese or polacca (French Polonaiae), 
one of the most difficult and showy of all soprano airs. 

Polonese, ** lo son Titania'' (Fm Fair Titania !) 

By Luisa Tetrazzini, Soprano {In Italian) 88296 12-mch, $3.00 

By Giuseppina Hu^et, Soprano (in Italian) *35178 12-inch, 1.25 

By Lucetta Korsoff, Soprano (In French) *45006 10-inch, 1.00 

The Victor is able to offer three fine renditions of this popular number, headed by the 
superb Tetrazzini record, one of the most perfect in her list. Mile. Korsoff, of the Opira 
Comique, sings the air in French with much brilliancy, while an Italian record is furnished 
by that gifted Spanish prima donna, Mme. Huguet. 

la son Titania 

(Behold Titania 



Chorus: 

She is truly divine, Filina! 

At her feet we lay our hearts and our flowers! 

What charms, what beauties are hers! 

Ah! what success! Bravo! Honor to Titania! 
Filina: 

Yes; for to-night I am queen of the fairies! 

Observe ye here, my sceptre bright, 

(Raising the wand which she holds in her 
hand.) 

And behold mv num'rous trophies! 

(Pointing to the wreath which has been pre- 
sented to her.) 

I'm fair Titania, glad and gav. 

Thro* the world unfetter'd I blithely stray. 



With jocund heart and happy mien, 

I cheerily dance the hours away, 

Like the bird that freely wings its flight. 

Fairies dance around me, 

ElBn sprites on nimble toe around me gaily 

dance. 
For I'm fair Titania! 

Both night and day. My attendants ever sing, 
The achievements of the god of Love! 
On the wave's white foam, 
'Mid the twilight grey, 'mid hedges, 'mid 

flowers, 
I blithely do dance! 
Behold Titania, glad and gay! 



Wilhelm now sees Mignon and is about to speak to her when Filina interposes and asks 
her to go to the castle on some errand. The young girl, glad to escape meeting IVilhdm, 
obeys, but has no sooner gone than the castle is discovered to be in flames, the half-witted 
Lothario having set fire to it after having heard Mignon^ a jealous wish. 

Wilhelm rushes into the burning castle and soon reappears with the unconscious form 
of Mignon, while the curtain falls on a magnificent tableau. 

ACT III 

SCENE — Count Lothario's Castle in Italy 

This act takes place in the castle of Lothario, to which the old man has instinctively re- 
turned with Mignon, followed by Wilhelm, who now realizes that he loves his youthful ward. 
The young girl is recovering from a dangerous illness, and as Lothario watches outside her 
sick room, he sings a beautiful lullaby or berceuse. 



$3«00 
1.50 
1.50 

.75 



Berceuse (Lullaby) (Ninna nanna) 

By Pol Plancon, Bass 

By Marcel Journet, Bass 

By Gaudio Mansueto, Bass 

By Cesare Preve, Bass 

Lothario: 

I've soothed the throbbing of her aching heart, 
And to her lips the smile I have restored. 
Her weary eyes at last have closed 
In gentle slumber; 

Wilhelm takes Lothario's place as watcher, and tells of his new-found affection in this 
beautiful air, given here by M. Regis, of the Paris Opira Comique. 

EUe ne croyait pas (Pure as a Floi^er) 

By M. Regis, Tenor (In French) *45023 lO-inch. $1.00 

* Doukle-FaceJ Record— For tttk of opposite side «ee DOUBLEJ^ACED MICNON RECORDS, page 285, 

284 



{In Italian) 85126 12-inch, 

{In Italian) 74270 12-inch, 

{In Italian) *55004 12-mch, 

{In Italian) *62650 lO-inch, 

By day and nipht some heav'nly spirit 
The maiden doth protect; 
On wings celestial, it doth hover round 
Protecting her from harm! 



VICTOR BOOK OF THE O P E R A— T H O M A S' MIGNON 



Wilhelm: 

In soothing yon poor, hapless maiden 
At last I have discovered her secret; 
From her sweet lips my name escaped! 
Ah! little thought the maid, 
In innocence arrayed, 



And thus pervert the peaceful current 

Of her peaceful life. 

Oh balmy April, 

Who to the wither'd flowers restoreth their 

colors, 
Kiss her fair cheek. 
And a grateful sigh of love cause to escape! 



What she in her breast had nurtured. 
Would ardent love become, 

Mignon now comes with feeble step on the balcony, and seeing IVilhelm, is much agi- 
tated. He endeavors to soothe her, but she insists that only Lothario loves her. Lothario now 
enters, and announces that he is the Count Lothario, having been restored to his right mind by 
the familiar scenes of his ancestral home. He shows them the jewels and prayer book of 
his lost daughter, and tells them her name was Sperata. Mignon starts at the name and 

murmurs : 

Ah, that sweet name to my ear is familiar, 
A memory of my childhood 
It may be, that's gone forever! 

She then begins to read from the book a little prayer, but soon drops the book and 
continues from memory, her hands clasped and her eyes raised to Heaven. Lothario is much 
agitated and when she has finished, recognizes her as his lost daughter. Father and 
daughter are reunited, while a blessing is bestowed on the young people by the happy 
Lothario, 



DOUBLE-FACED AND MISCELLANEOUS MIGNON RECORDS 



12-inch, $1.00 



35337 12-inch, 1.25 



Gems from Mignon 

"Away Ye Friends" — "Polonaise" — Barcarolle, "Now On We Sail 
" Pure as a Flower " — ** Dost Thou Know " — " Finale " 

By the Victor Light Opera Co (In English) 31867 

'Gems from Mignon By the Victor Light Opera Co^ 

"Away Ye Friends" — "Polonaise" — Barcarolle, " Now 
On We Sail"— "Pure as a Flower "—" Dost Thou 
Know " — " Finale " I 

Gems from Tales of Hoffman By Victor Light Opera Co) 

(Opening Chorus and Solo, " Fuggitivo e tremante ** 1 

By Andrea Perell6 de Segurola, Bass, and l<<rw\^ 

La Scala Chorus p^*^* 
Ninna nanna By Gaudio Mansueto, Bass] 

IPreludio. Parte 2a (Overture, Part 2) 1 

By La Seals Orchestra Loni < 
Preludio, Parte 1. (Overture, Part 1) ^oouzD 

By La Scala Orchestra] 

Polonese — lo Son Titania I (Fm Fair Titania !) 

By Giuseppina Huguet. Soprano (In Italian) 
Non conosci il bel suol ? (Dost Thou Knoiw That Fair 
Land?) By Giuseppina Huguet, Soprano (In Italian) 

Polonaise — lo Son Titania ! 

By Mile. Korsoff, Soprano (In French) 
Lakrn€ — Pourquoi Jans les grands bois 

By Alice Verlet, Soprano (In French) 

Adieu, Mignon, Courage (Fare^well, Mignon) 1 

By M. Regis, Tenor (In French) [aaq23 

EUe ne croyait pas (Pure as a Flo^wer) | 

By M. Regis, Tenor (In French)] 

/Fuggitivo e tremante By Cesare Prcvc, ^*"*l52650 

(Ninna nanna By Cesare Preve, Bass/ 

f Gavotte By Victor String Quartet!. a^-*^ 

1 Norma Selection (Bellini) By Pryor's Band]^"^^^^ 

Addio, Mignon (Fare^well, Mignon) 

By Emilio Perea, Tenor (In Italian) 
Stelle d'Oro — Romanza By Silvarw Isalherti, Tenor (In Italian) 



63420 



12-inch, 1.50 



12-inch, 1.25 



35178 12-inch, 1.25 



45006 10-inch, 1.00 



10-inch, 1.00 



10-inch, 


.75 


10-inch, 


.75 


10-inch, 


.75 



285 




THE MIKADO 

OR 

THE TOWN OF TITIPU 

COMIC OPERA IN TWO ACTS 

Text by W. S. GUbert : miuic by Sir Arthur Sullivan. Flnt produced at the Savoy 
ThealTC. London, March 14, 1885. Pint American production at the Union Square Theatre, 
New York, July 20, 1685. All atar revival by MeHTi. Shubert and William A. Brady at the 
Cauno Theatre, May 30, 1910. Revived at the Majeatic Theatre by the Gilbert and Sullivan 
Fettival Company, 1913. 

ChancteTB 

MIKAEX) of Japan , Baritone 

NANKI-POO, hisBon. disguised as a minstrel, in love with Yum- Yum. . . .Tenor 

KO-KO, Lord High Executioner o( Titipu , .Comedian 

POOH.BaH, Lord High Everything Else Bass 

PlSH-TUSH, B noble lord Baritone 

YUM-YUM I [ Soprano 

Prm-SlNG JThree sisters, wards o( Ko-Ko Mezzo-Soprano 

PEEP.Bo J I Soprano 

KATSHA. an elderly lady, in love with Nanki-Poo Contralto 

Schoolgirl., noble., guard, and coolies. 

Time and Piact : Tht ictne ij laid In Japan ; pnttnt liitK. 



VICTOR BOOK OF THE OPERA— THE MIKADO 



B 



It ia beginning to be recognized that ihe Gilbert and 
I Sullivan op«ra« are ptiie Ejiglish cla»ic« — not in tbe 
■ense of being dull — but because they are national, and 
I po«aen thoae qualitie* which will cause them in the 
I future to be valued equally with the Comedies of 
I Shakespeare. The MikaJo U undoubtedly the grealeat 
1 of theae, and curiously enough it was this opera which 
I first anticipated the rise of Modem Japan, although the 
I characters portrayed are by no means Japs, but ourselves 
GILBBKI —in a very ihin disguise. 

This charming Iravesly of Japan has been the 
greatest popular favorite of all comic operas since its original productioi 
The slory ia so generally known that a brief outline of the plot is all that i 
Nanki-Poo is in love with Yum-Yum, who is betrothed to her guard 
High Executioner. Poo-Bah, " retailer of state aecrets at a low figure." tells 
sweetheart's betrothal to another, but the young man secures an inlerv: 
and confesses he is the Mikaio't son. disguised in the hope of escaping 



i 



in, Ko-Ko, Lord 
Nankl-Poo of his 
with Yam-Yum 
lishment for his 




refusal to marry KaHiha. Ko-Ko receives a message from ihe Mikado, telling him he must 
see that some one in Titipu i* beheaded within the month or he will lose his position, which 
message interferes with the Lord f-Iigh Ejieculioner's matrimonial arrangements. Nanld-Poo 
agrees to sacrifice himself if he may marry Yam-Yum and have her with him during the 
intervening month. This is agreed to and the wedding plans are made. 

At (he opening of the second act Yam-Yum is preparing for the ceremony. While 
talking with Nankl-Poo she is interrupted by Ko-Ko. who lells her that according to the 
law, when a married man is executed his wife is burned alive. This news cooU Yam-Yam', 
ardor, but Nank<-Poo, to save her, swears tfial he wilt that day perform the Happy Dis- 
patch or hari-kari. As this would be dangerous for Ko-Ko, he promises in alarm to 
swear falsely to the execution of Nankl-Poo. 

The Mikodo now arrives and Ko-Ko tells him the execution has taken place, but the 
Mikodo, on learning who the victim is, flies into a rage and sal's he has beheaded the heir 
to the throne, and must himself suffer torture for his act. IHawever, Nankl-Poo opportunely 
appears and Ko-Ko gains his pardon by marrying Katlaha, while Yum-Yum and Nankl-Poo 
are happily united. 



VICTOR BOOK OP THE OPERA— THE MIKADO 

Two splendicl record* by the Victor op«ra force* are offered, containing no lea* than 
thirteen a( the (avorite numbers, admirably sung and grouped in a mo«t attractive man- 
ner. The Lyric Quartet has given the dainty Brightly Daaia Our fVedJing "Diqi, one of 
the most beautiful examplea of the Madrigalt in eziMence. 



DOUBLE-FACED AND MISCELLANEOUS MIKADO RECORDS 
Gems from " Mikado'* — Part I 

"Behold the Lord High Executioner "—■'The Flower» that Bloom in the 
Spring"— -Three Utile Maida"— "Tit Willow "—•■ Hea Gone and Married 
Yum-Yum"— "With Joyom Shout" 

By the Victor Litfht Opera Company 31789 12-iiich. tl.OO 

Gems from "Mikado" — Part II 

"Gentlemen of Japan" — "A Song of the Sea " — "Three Little Maid* from 
School " — " Moon Song " — " Elmpetoi of Japan " — " My Object all Sublime " — 

By the Victor Light Opera Company 31BB1 12-inch. 1.00 

(MidrtSale— Brightly Dawna Our W^edcUng Day I 

\ By the Lyric Quirtetll7226 10-inch. .15 

I Martha— Good Night Qaartel By Iht Lyric Quarielj 



(Mikado Lancers— Third and Fourth Figui 



'bJ'KS'.SS}"'" ■--'"'■• ■■=» 






j»5r»,"- 


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^Rf 3.'^^^B5L 




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HltAri ^ jS^^^H 




Ph 


^^■^YffV' -T — 


■^L^'ili'Pfk* -,| 


^^HHfi^f^y - — '--Jl 


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• 1 



MIREILLE 



MIRELLA 

(Mlli-rcrjiiKi 



OPBRA IN FIVE ACTS 

Worda by M. Carr*. from Mirilo, Provental poem by MiMral: muaic by Gounod. 
Produced at the Thiairt Lyriqae. March 19. 1864. Reduced to thiee actm. with th« addition 
of the waltz, and reproduced December 13, 1664, at the ume theatre. In London, in Italian 
with five acti^ a> Mirella, at Her MajeMy'a Theatre, July 5, IS64. 

Cut 

Ramon, a rich farmer BaM 

Mirella, hi> daughter Soprano 

AMBROISE Ban 

Vincent, U- , .,,_ i Tenor 

VINCENETTE. I""" '^'''^'^ tMezzo-Soprano 

TaVENA, a fortune-lellcr .Contnlto 

OURRIAS. a bull tamer Baritone 

ANDBELLU, a shepherd Contralto 

CLEMENCE, a peaaant girl Mezzo-Soprano 

Peasants and People : PilErims. 



Mirttta. which came later ihan Faail in ardei of production, is an example of the more 
delicate art of Gounod, and the story of the faithfulness of the heroine for her peasant bver 
ia reflected in the music with true Proven^ warmth and color. 

The librettist took (oi his subject the pastoral poem Mlrilo, by the beloved poet of 
Provence, Frederic Mistral, and Gounod has given it a tuneful setting with much local color, 
including many Eolk-songa. 



VICTOR BOOK OF THE OPERA— GOUNOD'S MIREILLE 



The £rM acene openi in a 
mulberry srove. where Mlrella 
i* tesaed by the villa|[e girla 
■bout Ker attachment (or 
Vlnceitl, the basket-maker. 
Tovena.. the (ortune -teller, 
wnrni the young girl that 
Ramon. MJraHo'i, father, wUl 
never coMcnt to the.. union. ' 
MIttUa meets [^(nc<n( ^nd/the 
warning of Taotna ia >pon for- 

pledgeaandagleeto meetaoon j 
at the Chapel of the Virgin. 






1^ i' ^ 



The, 



[irIU,, 




farmed by the fortuiie-teHec 

that yiTKtnl has a rivci^l »< wild 

hcrdlman. v/ho has 'aikcd 

Mireila'i father for' her hand 

and obtained his consent. 

When the herdunnn appears 

Mlntla repulses him, declaring 

her irrevocable attachment for Vlncenl. She then starts on the long journey across the desert 

to meet her lover at the chapel, and'on the way meets Taotna, who asaures her that Vincent 

will be waiting for her. The journey proves almost too much for the young girl's strength, 

and when she finally arrives at the chapel she !• completely exhausted, and faints on the 

threshold. Vlncatl soon appears and ministers to his fainting love. Ramon, who has 

followed his daughter, soon appears, and moved to pity by her sad condition, gives his 



t to the union of the lovers, and all ends happily. 



intage in this brilliant number. 



Valse from Act I 

88 1 29 By BcHM Abott, Soprano 



> the 



(/nFrencA) 12-inch. *3.00 





NATOMA 

(NahMtf-mah) 

(Tbe Mud from the Mouauins) 
OPERA IN THREE ACTS 

Teit by JoKph D. ReddinB; music by Victor Herbert. Fir»t produced at the Metro, 
politan Opera Houk, Philadelphia. February 23. 1911. FirM New York production Feb- 
ruary 28. 191 1. 

Characters 
(Wiih th< Cm oI Ihit Rm ParfofnuDcc) 
Don Francisco DE la GUERRA. a noble Spaniard of the old ti^tae 

Bbm (Huberdeau) 

BARB.\RA, his daughter Soprano (Crenville) 

NATOMA. an Indian girl Soprano (Garden) 

PAUL MERRILU Lieutenant of theU.S.Brig"Liberty".. Tenor (McCormack) 

Juan ALVARADO. a young Spaniard Barilone (Samniarco) 

lose Castro, a half-breed Barilone (PreiKji) 

Father PERALTA. Padre of the Minion Church Baa (Dufranne) 

Pico, I,- , tf ^ (Tenor (Crabbt) 

KACIWIA.I'^'""''"*** ^"^ { B— (fiicolayj 

Chiquita. a dancing girli Two American Officers; Nuns; Convent GirU; 
Friars; Soldiers; Spanish Dancers, etc 

Sane and Ptrlod : California, undtr ihe Spanish regime, 1820. 

Victor Herbert's Natoma treats of one of the most romantic periods of American his- 
tory, the scene being Laid in California in the days of Spanish rule. The opera takes its 
title from its Indian heroine, and the characters comprise Indians. Spaniards and pioneer 
Americans. The story centres around Natonui, an Indian girl ; Bathara, the lovely daughter 
of Don FrandKo dc la GaeiTa. a noble Spaniard of the old regime : and Ueul. Pad Merritl, of 
the U. S. Navy, who is loved by both Naloma and Barbara. 

ACT I 

SCENE— Haacnda of Den FiarKim> on tht bland of Sania Cwz 

At the opening of Act I Don Franclsai is gazing over the waters of the Santa Barbara 

channel waiting the coming of his daughter Bartara, who is leaving the convent at the close 

of her school days. Ahlarado, a hot-headed young Spaniard and Barbara 's cousin, who is 

anxious to marry the young giil and thus gain control of the vast estates left her by her 



VICTOR BOOK OF THE OPERA— H ERBERT'S NATOMA 



mothei, li alao anxiously waiting her arrival. Natmna hu met Lieutenant Paul and tliere ii 
already a bond of tympathy befween the handKime Indian maiden and the young officer. 
The two are now aeen approaching, the Indian girl innocently telLng the young officer that 
her miatre**, Ba<hata,\» very beautiful. Suddenly realizing that Paul may forget her when 
he sees Barbara, ihe bega him to let her be hia slave. When Barbara arrivea and meet* 
Paul it ia a case of love at first sight, and later, when Alearaio urges hi* auit. the young girl - 
haughtily refuse* him. In a rage he plots with Cattro, the half-breed, (o carry Baihara off to 
the mountains the next day, when the celebrations in honor of her coming of age are 
SI their heighL This plot is overheard by Naiama, who is concealed in the aibor. All 
the guests take their departure, and Barbara, alone on the ^orch m the moonlight, d«. 




Thi 



6 bold, 



appears and they sing an ___ ._ _ 

When a light is aeen in the hacienda, the young 
girl, thinking it is her father, urges Paul to take 
hii departure, and goes into the hacienda. Ai 
the curtain falls Naloma, who realizes that her 
mistress is now her rival, is seen seated alone in 
the window, gazing out into the night. 
ACT 11 
SCENE— HoM in Front of the Mlaion 
Church, Santa Bariara 
[n the dim light of early morning Natoma is 
singing her "song of fate,' and as dawn be- 
gins to break the Spanish soldiers appear, the 
Dog of Spain is raised, and truinpetera and drum- 
mers play the national salute. The vaqueros and 
rancheros arrive, singing of their life on the plains, 
while the dancing girls join in the revelry. Pice 
sings his stirring l^o^ero'i Song, which in per- 
formances of the opera always arouses great en- 
thusiasm, and which is vigorously sung here by 
Mr. Cartwright, while the melodious chorus is 
splendidly rendered by the Opera forces.. 
Vaquero's Sonff 

By Earl Cirrwrifht. Biritooe. and 
Opers Company (/n Engllth) 

(Harp accompanlinenl ig LapUhte) 

5071 lO-inch. «0.60 

VVilh a Imp from the ground 
To the saddle in a bound. 



rhoLd: Aiel 
Don FranciKo and his daughtei 



. „ ^,. ^nhorseback, with TVofoma walking by their side. 

The guests assemble, and after the Castilion custom, Hon Franclico places on his daughter's 
brow a woof of royal lace, signifying that she succeeds to title and estate. Baihara aings a 
brilliant song of happiness, love and springtime, with an exquisite accompaniment, in which 
Mr. Herbert has woven the songs of birds, the rustling of leaves and the breezes of spring 
with marvelous skill, Mme. Cluck in this rendition ouite surpasses anything she has yet 
done for the Victor, and pours out her vocal resources lavishly and with evident enjoyment. 

Sprinff Song (I Liat the Trill of Golden Throat) 

By Ainu Gluck. Soprano (h English) 14274 12-inch. I1.50 

The sailors from the U. S. S. Liberty appear, and with them is LSeutatara Paal. who ex. 
tends his compliments on behalf of his commander. This address, one of the most in- 
spiring numbers in the work, is given by Mr. McCormack in splendid style. 

Paulas Address (No Country Can My Own Outvie) 

By John McCormack. Tenor (InEngltah) 74295 12-inch. *l.SO 

The Panuelo, or "dance of declaration." follows, in which each man places his hat on 



VICTOR BOOK OF THE OPERA— HERBERT'S NATOMA 




the head of the girl he lovet. Bartara infunalea Aloarado by sally tOMms hii hat into the 
crowd when he places it on her head, but before he can speak Catln appear* and dares 
any one to dance with him the ancient Oskkct Dance of California. Natoma accepts the chal- 
lenge, and they dance to the wild and barbaric rhythm. This old dance is, like other 
characteristic numbers in the opera, based on Indian melodies which Mr. Herbert has 
been collecting for some years, and its performance far the Victor, which was made under 
the composer's direction, is a very fine one. 

Dagger Dsnce 



y Victor Herbert's Orchestra 



?004» 12>iiich. *l.25 



As the scene becomes more Bbsoibing. Alvarade and Ptco slip close to Barbara, and, 
throwing a serape over her head, attempt to carry her off. Naioma, vfho has been vratching 
Attarado, rushes wildly put Cattra and plunges hei dagger into the Spaniard, who falls life- 
less. The crowd rushes at Naioma to avenge the death of Aloarado and Paul draws his 
aword to protect her. Suddenly the Mission door opens, and Falhtr Peralla slowly 
advances, holding aloft the cross. The people kneel, and the Indian girl, dropping her dag- 
ger, approaches the priest and falls at his feet. They go into the church as the curtain (alls. 
ACT III 
SCENE— /n/ertof of ihe Mlitkm Church 

As the curtain rises Naioma is kneeling on the steps of the altar, crooning an Indian 
cradle song. She invokes the Great Spirit to give her strength to join her people, and seek 
vengeance for her misfortunes. The old priest seeks to calm her, and finally strikes the 
one responsive chord in her heart— her love for her mistress. He recalls to her mind 
her happy childhood days with Barbara, and she realize* that she can yet make her mis- 
tress happy, and that fate has decreed the union between Natoma and Paul, 

The church now (ills with the people, who respond to the words of Falher Ptratla. 
Paul and Barbara sit near the altar in opposite pews, and at a sign from the Driest the Indian 
girl walk* down the aisle to where they are sealed. Under her spell they kneel, facing the 
altar, and Nalcma, liftingthe amulet she wears around her neck, bestows it as a bleming on 
her beloved mistress. Turning, she walk* toward the convent garden, and as the pnest in 
the pulpit raises his hands in benediction, the doors of the cloister close upon her. 
293 



NORMA 

iNo/.mah) 

OPERA IN TWO ACTS 

Book by Felice Romani, founded on an old French story. Score by Vincenzo Bellini. 
First production December 26, 1831, at Milan. First London production at King's Theatre, 
in Italian, June 20, 1833. In English at Drury Lane, June 24, 1837. First Paris production 
TheAtre des Italienos, 1833. First Vienna production, 1833; in Berlin, 1834. First New York 
production February 25, 1641; other early productions, September 20, 1643, with Corsini and 
Perozzi, and 1854 with Grisi, Mario and Susini. 



Characters 

Norma, High Priestess of the Temple of Esus Soprano 

ADALGISA, a Virgin of the Temple Soprano 

CLOTILDE, attendant on Norma Soprano 

POLLIONE, a Roman proconsul commanding the legions of Gaul Tenor 

FLAVIO, his lieutenant Tenor 

OROVESO, the Arch-Druid, father of Norma Bass 

Priests and Officers of the Temple, Gallic Warriors, Priestesses and Virgins 
of the Temple, two children of Norma and Pollione 



Scene and Period : The scene is laid in Gaul, shortly after the Roman conquest. 



Norma, although an opera of the old school and seldom performed nowadays, contains 
some of the loveliest of the writings of Bellini. Its beauties are of the old.fashioned kind 
which our forefathers delighted in, and which are an occasional welcome relief from the 
abundance of ** music dramas** with which we are surrounded of late. Especially charm- 
ing is the spirited overture, always a favorite on bcuid programs. 

Overture to Norma 

By Arthur Pryor's Band * 35 1 66 1 2-inch, $ 1 .25 

By Victor Band * 35029 12-inch, 1^5 

The briskness and sparkle of this fine overture and its inspiring climax are well pre- 
served in Mr. Pryor's vigorous rendering, and in the splendidly played Victor Band record, 
made under Mr. Rogers* direction. 

The scene is laid among the Druids at the time of the Roman invasion. Norma, the 
High Priestess, though sworn to bring about the expulsion of Rome, is secretly married to 
a Roman proconsul, Pollione, by whom she has two children. She rebukes the Druids for 
wishing to declare war, and after the ceremony of cutting the mistletoe, she invokes peace 
from the moon in the exquisite prayer, Casta Dloa. 

Casta Diva (Queen of Heaven) 

By Marcella Sembrich, Soprano {In Italian) 88104 12-inch, $3.00 

By Celestina Boninsegna, Soprano (in Italian) 92025 12-inch, 3.00 

By Giuseppina Hu^et, Soprano (In Italiari) * 16539 10-inch, .75 

This lovely air still holds a high place in popular favor, its beauty and tenderness mak- 
ing it well worthy of a place among modem airs. As evidence of the great popularity of 
this number, three famous prima donnas have selected it for their Victor lists. 

Norma: 

Jueen . . 

.ove upon us is still remaining. Let jts holier, sweeter essence, 

)lad in pureness, alone disdaii ' -v ... 

Grosser earth's nocturnal veil. 



Queen of Heaven, while thou art reigning Queen of Heaven, hallow'd by thy presence, 

Love upon us is still remaining. Let its holier, sweeter essence. 

Clad in pureness, alone disdaining Quelling ev'ry lawless license, 

As above, so here prevail! 



In the next scene Norma discovers that her husband loves Adalgisa, and in her rage she 
contemplates killing her children; but her mother's heart conquers, and she resolves to 

* DotAk-FaceJ Record — For title ofoppoMt Mide wet next page, 

294 



VICTOR BOOK OF THE O P E R A — BELLI N I'S NORMA 



Thi. 



yield her huabani) and children lo Adalglta and expiate her oSencea on the funeral pyre. 
Adalgiaa pleadi with her, ursiuK her to abandon her purpoie, and offers to (end Pollltmt 

' ' n the Htar Me, Norma, (amiliar to every music-lover. 

Mira o Norma (Hear Me, Norma) 

By Ida Giacomclli. Soprano, 
and Lina Mileri. Contralto 

[fn Italian) •62101 10-inch, *0.?5 

By Arthur Pryor'i Band * 16323 10-inch, .75 

The lovely strains of this melodious number have 

delighted countless hearers in the eighty years since it was 




kiglia against her will. Norma (oils this attempt and 
iKUis with him, telUns him he must give up hia guilty love 
or die. This is expressed in a dramatic duet. 

In mia mano (la My Grasp) 

By Ida Giacomclli. Soprano, and Gino Martinez-Pa tti. Tenor 

{Inllallan) "68309 12-inch, »U» 
PoUione alill refuses, and Norma strikes the sacred shield (o summon the Druida. She 
declares war on Rome and denounces PuUlont, but offers to save his liEe if he will leave the 
country. He refuses, and she is about to put him to death, when love overcomes justice 
and the Priestess denounces herself to save Polltone. Norma'i noble sacrifice causes his love 
to return and they ascend the funeral pyre together. As the flames mount about them 
they are declared purified of all sin. 



DOUBLE-FACED AND MISCELLANEOUS NORMA RECORDS 



/Overture 

\ Obtron OecTtare {Wd«r) 

(Overture By Victor Band) 

( Hugutmli SeltcUon By Victor Bandj 

I In mia m«no alfin tu sei (In My Grasp) 1 

By Ida Giacomclli, Soprano, and Gino Martinez-Patti. 
Tenor {In Italian) \ 

Faoorta—Ra uera lasciarit (Shall I Leave Tbet » 
£^ Clolllde Ejposllo. Soprano, and Clno Martlnez-PalH, Tenor 
UnltnUan)] 
/Norou Selection (Hear Me. Normal) By Pryor's Band) 

I Mignon^Cavollt By Victor Siring Quarletl 

(Casta Diva (Queen of Heaven) ] 

By Ciuseppina Hu^et. Soprano (/n Italian) \ 
Lucia— Rcgnaoa nel allenxio {Silence O'er All) 
By Qiaepfilrya Huguel. Soprano (In llattan) \ 
jMira o Norma 'Hear Me. Norma) By Ida Giacomelli, I 
i Soprano, and Lina Mileri. Contralto (In Ilallan)\b2\0 

\ Carmen— PreluJio, Ad IV By La Scala Orchetlraj 

• DKiUt-Faad RccorJ—Fur VIk ofetpnm ildt w aiaa lU. 



-39029 12-incb. IJiS 



16323 10-inch. 



6939 10-inch. 




ORFEO ED EURIDICE 

(EB(liih) 

ORPHEUS AND EURYDICE 

ICh'-fyt-m tnd V.fi-M<iB) 

OPERA IN FOUR ACTS 

Book by Ramieri De CalzBbig{; music by OirUtoph Willibald von Cluck. Fint pro- 
duction in Vienna. October 5. 1762, Cluck conducting. FirM ParU production. 1774. when 
the rftle of Orpheus was tr&naposed for high tenor. FifAt London production at Covenl 
Garden. June 26.1770. Other revivaU were during the Winter Carden ■eann of 1 863 ; in 
1885 (in German), by the Metropolitan Opera under Waller Damrosch; the Ejiglish produc- 
tion in 1886 by the National Open. Company; the Abbey revival in Italian in 1892; and the 
Metropolitan prcxluction of 1910, with Homer, Cadski and Cluck. 

Ca«t 

Orpheus Contralto 

EURIDICE Soprano 

Love Soprano 

A Happy Shade Soprano 

Shepherds and Shepherdesaes, FurJea and Demons. Heroes and 
Heroines in Hadea. 



This opera, which has been called "Gluck's incomparable maate 
the great F^is wrote, "it is one of the most beautiful prodticMoni 
properly termed a purely classical music drama. The music is exqui 



piece." and of which 
of genius," may be 
ile in ita delicacy and 



ago. 



VICTOR BOOK OF THE OPERA-ORPHEUS AND EURYDICE 

inteTeMing and affect- 
called the grandfather 
rand opera, it being the oldeM work of iti 
to hold ita place on the stage, the first repre- 
Ition occurring one hundred and £fty years 

IS had only one adequate Ameri- 
can production prcTRtm-to the recent Metropolitttn 
revival, and that Waa during the American Opera 
Company season of 1866— the Abbey revival of 
1892 meeting with but indifferent luccess. Such 
has been the interest aroused by the recent per- 
formances, that it is likely to be heard quite 
frequently in the future. 

The story concerns the Greek poet Orp^ui. 
who grieves deeply over the death of his wife 
Earldlct. and finally declares he will enter the 
realms of fVufo and search for her among the 
spirits of the departed. The goddess Loue appears 
and promises to aid him, on condition that when 
he has found Euridlce he will return to earth 
without once looking at her. 

In recent productions oF the opera at the 
Metropolitan it has been the custom to introduce, 
at the close of Act I, a very appropriate air from 
>;'-i>vpiir>: Cluck's Alcalt. ThU Mme. Homer has sung here 

very beautifully indeed. 

Fatal divinita (Gods of Pate) 

By Louue Homer. Contralto {In Italian) 88286 la-inch. *3.00 

Orpheua journeys to the Gates of Brebus, and so aoftens the hearts of 
the Demon guards by his grief and his exquisite playing of bis lyre, that 
he is permitted to enter. He Ends Eurldlct, and without looking at her, 
takes her by the hand and bids her follow him. She obeys, but failing 
to understand his averted gaze, upbraids him for his apparent coldness 
and asks that he shall look at her. 

Su e con tne vieni cara (On My Faith Relying) 

By Johinna Gadski. Soprano: Louise Homer, Contralto 

lln Italian) B9041 12-inch. *4.00 

Orphaa, knowing that to ci 

death to her, keeps his face aver 

of the characters, while Cluck' 

and the tragedy which is to foil 

Unable to endure longer the reproaches of hi 
in his arms, only to see her sink down lifeless. 




. single look at hia loved one means 
The dialogue portrays the emotions 
UEJc suggests the present perplexity 

wife, he clasps her 



Ach, Ich habe »ie verloren (I Have Lost My 
Eurydice) 

By Ernestine Schumann- Heinle, Contralto 

{In German) 88091 12-inch, t3.00 

Che faro senza Euridice (I Have Lost My 

Eurydice) 

By Louise Homer (/n Ilallan) 88289 12-incb. *3.00 

"Malhtureux! qu'al-je fall? El Jam qutl firidpict m'a filongi mi 
("Wretched one, what have I donel Into what gulf has my fatal \ove 
hapless youth, and breaks into his lovely and pathetic lamentation. 




VICTOR BOOK OF THE OPERA— ORPHEUS AND EURYDICE 




"I have lost my Eurydiae It is your faithful hushand. 

My mLsforlune is without its like. Hear my voice, which calls ■ 

Cruel falel I shall die of my sorrow. Silence of death! vain hope! 

Eurydice. Eurydice, answer mel What suffering, what lormen 

Of the many beautiful numben in Cluck's drama this lovely arii 



n by the Italian title Che f. 
n and Italian, by two fan 
loice of opeta lovera. 

The grief-stricken poet is about to take hta 



lerua EartJke) is the most (anmu 
of the part of OrpAi 



aria of mourning (best 



iliar. Two renditiona, ii 



life when the goddes 





OTELLO 



<.Ok^f.M> 



OTHELLO 



iOthjurJah) 



OPERA IN FOUR ACTS 

Text by Arrigo Boito, afler the drama of Skakeapeare. Musk by Giuseppe Verdi. 
Firtt produclion February 5. 1867. al La Scala, Milao. First London production May 18, 
1889. Firat American production April 16^ 1688, with Campanini ai Oletlo. Some notable 
revivals occurred in 1894, with Tamagno and Maurel; in 1902, with Eames. Alvarez and 
Scotti; and in 1906 at the Manhattan, with Melbs, Zenatello and Sammarco. 

Characters 

OTELLO. h Moor, general in the Venetian army Tenor 

lAGO. (EmA'-jo) hU ensign Baritone 

CASaO, {CaMM'-tt^h) hia lieutenant Tenor 

ROOERICO, {R<,h-drr-a' -f) a Venetian gentleman Tenor 

LODOVICO, ambassador of the Venetian Republic Baas 

MONTANO, predcceiaor of Othello in the government o/ Cyprus Baaa 

A Herald , , Bass 

DESDEMON A wife of Othello Soprano 

EMIUA iAg.fncc'Jcc^kj wife of lago. ' Mezzo-Soprano 

Soldiers and Sailors of the Republic; Venetian Ladies and Cenlleraen; 

Cypriot Men. Women and Children: Creek, Dalmatian 

and Albanian Soldiers; an Innkeeper. 

Scene and Period : End of the fiftttnth ctnlary ; a itaport in Cvpn". 



VICTOR BOOK OF THE O P E R A— V E R D PS OTELLO 




After having given the world hit iplendtd AlJo, Verdi 
reated on his laurels and was silent for sixteen years; 
then, at the age of seventy-four, he suddenly astonished 
the world with his magnifjcent Olello. a masterly music- 
drama which alone would suffice to make him (amoua. 

The change from the Verdi of 1S53 and 11 Trovatore. 
to the Verdi of TB87 and Olello. is amazing. Each opera 
produced by him shows a steady advance, until someUiing 
approximating perfection is reached in Olello, the vrriting 
of which was an astonishing feat for a man of nearly eighty 
yean of age. 

The text, by that accomplished scholar and tnaster 
librettist, Boito, follows closely the tragedy of Shakespeare. 

ACT I 
SCENE—Ofe/b'i CailU In Cj/pnu. A Slorm la Raging 
and the J}ngn/ Sea It olMe In the Backgmind 
Venetians, soldiers, including logo, RoJerigo and Cataio. 
v»i>i AXD HAUBEL AT FKiT are Bwaiting the return of Otdlo. His vessel arrives safely, 

PiRFogMANct DC OTELLO and amid much rejoicing the Moor announces that the war 

is over, the enemy's ships having all been sunk. He goes into the castle, and logo and 
Rodeilgo plan the conspiracy against Caa^o and Olello, by which RoJeHgo hopes to secure 
DetJemona for himself and logo to be revenged on CHtllo. 

They join the soldiers and try to induce Caialo _ 

to drink. He refuses, but when lago toasts Deademona. 
he is compelled to join. lago sings the rousing Brindltl : 

Brindisi — Inaffia Tugola (Drinkintf Song 
—Let Me the Cannakin Clink) 
By Pssquile Aioato, Baritone, and Chorus 

(/n llallan) 68338 12'inch. *3.00 
By Antonio Scotti, Bxritone 

{In Italian) 880B2 12-iach. 3.00 
By Antonio Scotti. Baritone 

(In llallan) 87040 lO-inch. 2.00 
during which he continues to l^ll Caalo'a glass. When 
the latter is quite drunk they pick a quarrel with him, 
and he draivs his s^ord. wounding Montana, ^vhile 
Aijro and Coujo rouse a cry of "riot." which brings 
Ofe//o from the castle. He disgraces Caaalo and orders 
all to disperse, remaining alone with Deademona for a 
long love scene. Pait of this scene has been recorded 
here by Mme. Lotti and M. Conti, of Milan. The cut- 
tain falls as husband and wife go slowly into the castle. 

Quando narravi (When Thou 

Speakeat) 

By F. Lotti, Soprina: F. Conti, Tenor 

(In llallan) *S5023 12-inch, *1.50 

ACT II 

SCENE —A Room In the Ca,lU 

The crafty logo is advising CouJo how to regain the favor of 0;ello, telling him that he 

must induce Deademona to intercede for him. Caatia eagerly goes in search of Deademona, 

while lago gazes after him. satisfied with the progress of his schemes, and then sings the 

superb Credo. 

'Douik-FaaJRcc-rJ—Foriakiiftppoiltiil-ltKeDOUBLEJ'ACED OTELLO RECORDS, a-v 304. 




VICTOR BOOK OF THE O P E R A — VE RD I ' S OTELLO 



Credo (Otello's Creed) 

By Patquile Anuto, Baritone 
By ErDCBto Bidini, Baritone 

This ii a free tidaptation of lago'i last speech i 
in Shakespeare, Act II. In hi* setting Verdi hai eipreMed 
fully the character of the perfidious logo: cynical, vain, 
weak tmd subtle. He declares that he via* fashioned by a 
cruel God v^ho intended him for evil, and that he cares 
naught for the consequences, as after death there is nothing. 

The wonderful lendition of this great number by Amato 
will be pronounced one of the most strilung in his list, while 
a splendid louver-priced record by Badini is also offered. 

logo sees Desdanona approach and Caulo greet her, and 
as soon as the young officer is earnestly pleading with her 
to intercede for him, logo runs in search of Olello, and sows 
the first seeds of jealousy in the heart of the Moor, bidding 
him watch his wife well. Olttto, much troubled, seeks 
Dademona and questions her. She bepns to intercede for 
Gusto, but the Moor repulsea her. and when she would wipe 
his perspiring brow, roughly throws down the handker- 
chief, wrhich is picked up by logo. 

Left alone with logo, Olello gives way to despair, and 
expresses his feelings in the bitter Ota t per tempn. 

Ora e per sempre addio (And No'w, 
Forever Farewell) 

By Francesco Tanugno, Tenor 

(In llalim) 95003 lO-inch, »S.OO 



{In Italian) 88328 

(In Ilalian) 'SSOaS 

ith CasjfD 





Srori 10-inch, 2.O0 ' 

64168 lO-inch, 1.00 "■""'" *" '"•■" 

Now finally convinced that Dademona is deceiving him, he 

Ids farewell to peace of mind, ambition and the glory of conquest. 

Caruso delivers the number magnificently, being especially 

Ifective in the closing passage. Other renditions are the famous 

ne by Tamagno, and a popular-priced record by Zerola. 

/ago further says that he has seen Deademona'a handkerchief 
"aalo'i room, at which news Olello is beside himself with rage, 
aet closes with the great scene in which logo offers to help 
la secure his revenge, and they swear an awful oath never 
iBuse until the guilty shall be punished. 
ACT III 
SCENE— rAs Cnal Hall of iht CatlU 
Olello now seeks Detdemona and contrives an excuse to borrow 
handkerchief. She offers it, but he aays it is not the one. and 
for the one he had given her, with a peculiar pattern. She 
it is in her room and offers to bring it, but he at once de- 
nces her, and sends her away astonished and gneved at the 
sudden Jealousy which she cannot understand. He re- 
mains looking after her in the deepest dejection, then 
sings his sorrowful soliloquy, Dio ml pottvl. 

Dio mi potevi scagHare (Had it Pleased 
Heaven) 

By Antonio Paoli, Tenor 

(In Italian) 8B240 12-inch. *3.00 
By Carlo Barrer*. Tenor 

(/n llaltan) *5900» 12-inch. 1.90 
K, DOUBLE-FACED OTELLO RECORDS. paf304. 
302 



VICTOR BOOK OF THE OPE 



lA-VERDI'S OTELLO 





logo now tella Oidh how he had slepl in Grufo'a room 
lately and had heard Cauio talking in his ftleepi bemoaning 
ihe fate which had robbed htm af Dademona and given her 
to the Moor, 

Ciutlo enters, and lago, bidding Olel/o watch behind a 
pillar, goes to the young oflicer, and with fiendish ingenuity 
induces him to talk of hi* sweetheart Blanca. Otellc, listen- 
ing, thinks that it is oE Detdtmona thai Caujo speak*, as 
Ciutla produces the fatal handkerchief, telling logo he had 
found it in hi* room, and wondering to whom it con be- 
long. Olello, seeing the handkerchief and not hearing the 
conversation, has no further doubt of Dadanona'i guilt, and 
when Coufo departs he asks lago how best can he murder 
them both. The villain suggests that Dtnitmona be strangled 
itt her bed, and says he will himself kill Cauhi. 

In a highly dramatic duet, given here by Barrera and 
Badini, they swear a solemn oath of vengeance. 

Ahl mille vite (A Thousand Lives I) 

By Bsrrera and Badini *»9009 12-inch *1J»0 

from the Senate bearing orders 
for Olello, who has been re- 
called to Venice, and Coxrio 
appointed Governor of Cyprus 
in his stead. He announce* 
his departure on the morrow, 
and then unable to control his 
rage and jealousy he publicly 
insults Dadanona and flings 
her to the ground. As she 
is being led away by hei 
maids he falls in a fit. The 
people, considering the sum- 
mons to Venice an additional 
honor for the Moor, rush in, 
shouting "Hail to Otello," 
when lago, pointing with 
fiendish triumph to the pros- 
trate body, ciiea, "Behold 
your Lion of Venice ! " 
ACT IV 
SCENE— DcH/ennrKt'i fieJrown 
The heartbroken Dadanona is preparing to retire, assisted by her maid, Emilia. She 
tells Emilia that an old song of her childhood keeps coming into her mind. Then she sings 
the sad and beautiful Willoai Song. This is an old melody which has been definitely traced 
to the sixteenth century, and which is supposed to be much older. 

Salce, salce (W^illow Song) 

By Nellie Melba. Soprano (/n Ualian) 88146 12-inch. *3.00 

This plaintive song seems like the lamentation of a broken heart, its last words being 
prophetic of the coming tragedy. 

The faithful Emilia leaves her, and she kneels before the image of the Madonna and 
sings the noble Am, one of the most inspired portions of the wonderful fourth act. 

Ave Maria (Hail, Mary) 

By Nellie Melba. Soprano (In Italian) 68149 12-inch. 13.00 

By France* Aids, Soprano I In Italian) 88213 12-inch, 3.00 



'DtMcFaaJHtctrJ—FirttHeofoB 



iit,iJ.KtDOUBLE.FACED OTELLO RECORDS, p. 



VICTOR BOOK OF THE O P E R A— V E R D I '5 OTELLO 




Tho "Ave Maria" i* in- 
troduced by a characlatutic 
nianotoiie for the voice, ac- 
companied by eome argan-like 
haimoniei whicb steal in with 
exq u iaile effect from the strings 
o( the orchestra. 

The portrayal of the min- 
gled apprehension and resig- 
nation of Dttdanona in tms 
scene through the medium of 
the voice is worthy to rank 
with Melba's most celebrated 
operatic creations — her Mar- 
guerila—her Juliet — -her Mind. 
The purity and youthfulness 
of the feeling imparted, apart 
from the frnhness and deli- 
cate perfection of the tones 
themselves is amazing, filling 
the mind with wonder at the 
perpetual miracle of the sing- 
er's perfect art. Mme. Alda, 
D» AND sLiiAK) whose Z>eti/s»aiKi hos been ons 

the Metropolitan, sings the 



of the finest of her impenor 
number beautifully. 

At the close of the air DaJemona remains kneeling and prays 
in broken accents, hei voice being almost inaudible. 

Olelle enters and rushes toward the bed, but atopi and gazes 
at his sleeping wife a long time, then approaches and kisses her. 
She wakes and speaks his name. He accuses her again of an 
intrigue with Caalo, but she swears that it is false. He disre- 
gards her cries for mercy and strangles her. Emilia knocks at the 
door and is admitted by Otello. who hardly realizes what he has 
done. Seeing Dadanona lifeless, she accuses him of the crime 
and calls loudly for help. All rush in and Emilia, seeing logo, 
denounces him as the author of the plot, and tells Otello that 
Dademona was innocent. The Moor is torn with remorse, and 
tenderly gazing on his dead wife, sings his last air. 

Morte d'Otello (Death of Otello) 

By Francesco TanuKno. Tenor 

(/n Italian) 95002 lO-iQch. fS-OO 
By Nicola Zerola. Tenor 

{in kalian) 7421 r 12-inch, l.»0 

He then draws a dagger and stabs himself, and with a final 

effort to embrace the Dewcnwna he has so cruelly wronged, he 



DOUBLE-FACED OTELLO RECORDS 
fDio mi potevi scatfliare (H«d Ii Pleased Heaven) 

By Carlo Barrera, Tenor {In ltallan)\ 
jGiuramento— Ahl mille vtte (A Thousand Lives) ^9500» I2.inch, *1.50 

By Carlo Barrera. Tenor; Ernesto Bsdini, Baritone 
I (In tiallan)] 

IQuando narravi (When Thou Speskest) ] 

By F. Lotti. Soprano : F. Conti. Tenor (/n/toM(in]l»5023 12-iach. 
Credo (Ote1lo*s Creed) | 

By Ernesto Bsdini, Baritone {In Italian)] 




(iBlua) (Endiik) 

I PAGLIACCI THE PLAYERS 

Drama in Two AcW. Worda and Mucic by R, Leoncavallo 

The Engluh vertion quoted from it by Heuty Gr*flon Chapmui 

Ql.clmlioBtbcmKamBdmuBclaixiAaxPr<iotucihrUaitmi:iiBaa<iC.Sd<hiaB. (Copr't 1906) 

Ruggiero Leoncavallo waa bom at Naples, 
March 8, IS36, and was tbe ton of a magictrate. 
the Chevalier Vincont. president of the tribunal 
of PolenZB. His mochei was a daughter of the 
celebrated artist, Raffaele d'Auria, famous for 
hi* decoration! in the royal palace at Naples. 
He look up the pianoforte at an early age 
with Simonetti. a well-known teacher of Naples, 
and entered the Neapolitan Conservatoire, where 
he studied under Cen. Ruta and Rossi. At sixteen 
B made a concert tour as a pianist with some 
iccen. Leaving the Conaervaloire at eighteen 
he promptly showed his leaning toward operatic 
compositian by beginning to write an opera, the 
libretto based on do Vigny's well-known drama, 
Chatterton. Finding an imprtiado, the produc- 
n of this opera was promised, but at the last 
jment he waa deserted by his manager and the 
yoting composer was reduced to povern. He did 



y^^^^^^^^^^^^^^^^f not despair, however, and abandoning b 

^^^^^^^^^^^^l^^r ' his operatic pretensions, set to work at anything 

^^^I^^HPi^V^^ which would give him ahving. He gave lessons 

■^^^^^^ and played accompaniments at caf£ concerts, finally 

becoming a concert pianist, the latter occupation 

taking him to many countries — England. France, 

LEOHCAVALio HolUnd, Germany and Egypt. Returning to Italy 

after several years of these wanderings, ha proved 

that he had not been idle by submitting to the house of Ricordi tbe first part of a tremen. 

dous trilogy based on the aubject of the Renaissance in Italy. 

This monumental work he entitled CrcpuKulum (Twilight), and the three parts were 
called ; 1 — Mtdid ,- 11 — Girolamo Saconamla ; 111 — Ctzart Borgia. This Ricordi accepted, agreeing 
to produce the first part, and Leoncavallo spent a year in its completion. Three years passed 
by and the production was not made. In despair he went to the rival firm of Sonzogno. 
which encouraged him to write the opera which waa to make him famous. The young 
composer went to work and in the space of ^ve months completed his opera, baaing the 
plot on an actual occurrence in the court where his father waa presiding as judge. 

The production of Pagliacci was made on May 21, 1892, at (he Teatro dal Verme, 
Milan. Its success was overwhelming, and the name of Leoncavallo was heard throughout 
the world. His fame led to the production, in 1093, of the first section of the great trilogy, 
Medici; but it was not well received. Other operas by Leoncavallo which have been pro- 
duced with more or less success are; Chatterton (produced 1896); Boh«mc (1897); Zaia 
(1900); and finally RoUnd, written at the request of the German Emperor (1904). He has 
written also a symphonic poem. Strafita; a ballet {La Vila d'una Marionetta) and several 

But it is Pagliacci which will keep tbe name of Leoncavallo remembered. Its master- 
fully constructed libretto; its compelling and moving story; the orchestration, written with 
extraordinaiy skill; and (mally, its moving and intensely dramatic plot, which always holds 
an audience in rapt attention. 

It is indeed ■ matter for congratulation that the Victor is able to offer such a fine pro- 
duction of this master work. 



VICTOR BOOK OF THE OPERA— LEONCAVALLO'S PAGLIACCI 

ANNOUNCEMENT 

The Victor Company takes pleasure in announcing Leoncavallo's famous two-act musical 
drama, recorded especially for the Victor under the personal direction of the composer. 
The records in the series were made in the presence of Signor Leoncavallo, and the music 
conducted by him, a feature which should make this collection ever valuable and unique. 
Any question arising in future concerning the composer's intentions in regard to the opera 
may be decided by reference to this performance as he himself conducted it. This advan- 
tage would have been priceless with regard to many well-known operas of the past, as it 
would have settled many controversies. But now, by means of the Victor, the composer's 
ideas may be imperishably recorded. 

The artists selected by Signor Leoncavallo to interpret his great work are well known 
and most competent ones. Mme. Huguet, one of Italy's most beloved prima Jonne, has a 
voice of ample range and power, and sings the music of Nedda most beautifully. Cigada s 
Tonio is a remarkable performance, the richness and beauty of his voice being especially 
noticeable in the Prologue and the duet with Nedda. As Canio a choice of tenors is offered, 
the more delicate voice of Barbaini being contrasted with the splendid fire and intensity of 
Paoli's singing. Badini as Sildo is fully adequate, while the smaller parts are well filled. 
Nothing need be said about the orchestra and chorus of La Scala, as their reputation is 
world wide. 

Leoncavallo's beautiful opera is admirably suited for reproduction on the Victor, and 
while listening to the singing of the artists who have rendered these dramatic scenes, no 
great imagination is required to picture the various situations. 

In addition to the La Scala series, which w^as made under the composer's direction, 
many other Pagliacci records are listed in their proper places. 

THE ARGUMENT 

E)uring the orchestral introduction Tonio » in his clown costume, suddenly appears in 
front of the curtain and begs permission to revive the ancient Greek prologue. He then 
comes forward as Prologue and explains that the subject of the play is taken from real life ; 
reminds the audience that actors are but men, with passions like their own, and that the 
author has endeavored to express the real feelings and sentiments of the characters he will 
introduce. He then orders up the curtain. 

The first act shows the entrance to an Italian village. Canio and his troupe of strolling 
players, or pagliacci, having paraded through the village, return to their traveling theatre, 
followed by a noisy crowd of villagers. Canio announces a performance for that evening at 
seven, then goes with Peppe into the tavem. Tonio, the clown, remains behind ostensibly 
to care for the donkey, but takes advantage of his master's absence to make love to Nedda, 
Canto's wife. She repulses him scornfully, striking him with her whip, and he swears to be 
revenged. Siloio, a rich young villager, in love with Nedda, now joins her and begs her to 
fly with him. She refuses, but admits that she loves him, her confession being overheard by 
Tonio, who hurries in search of his master. Canio returns too late to see Siloio, but hears 
Nedda *s parting words, " Forever I am thine I " Mad with jealousy, he demands the lover's 
name, and when Nedda refuses, tries to kill her, but is restrained by the others. Nedda 
goes to dress and Canio is in despair at the thought of being obliged to play while his heart 
is breaking. 

Act II : The curtain rises on the same scene and the play is about to begin. This 
proves to be the usual farce in which the Clown makes love to Columbine during the 
absence of her husband, Punchinello, but is laughed at and resigns his pretensions, finally con- 
senting to act as a lookout while Columbine and her accepted lover. Harlequin, dine together. 

Strangely enough, this conventional farce is very like the situation in the real lives of 
the players, and when Punchinello (Canio) arrives and surprises the lovers, as the play 
•demands, he loses his head when he hears Columbine repeat in the farce the very words 
'he overheard her say to her real lover earlier in the day. Mad with rage, he again demands 
her lover's name. Nedda tries to save the situation by continuing the play, while the 
audience is delighted by such realistic acting until the intensity of CarUo 's passion begins to 
terrify them. The other players endeavor to silence him, but in vain. Finally, stung by his 
taunts, Nedda defies him and is stabbed, Canio hoping that in her death agony she will reveal 
the name of her lover. She falls, calling upon Silvio, who rushes from the crowd only to 
receive in turn the dagger of the outraged husband. As Canio is disarmed by the peasants 
he cries as if in a dream, "La commedia efinita" — (The comedy is ended). 

306 



VICTOR BOOK OF THE OPERA— LEONCAVALLO'S PAGLIACCI 



U^P 



m^f^ 



(luliu) (Enclishl 

I PAGLIACCI THE PLAYERS 

DIE BAJAZZI PAILLASSE 

IDk Bah-aof-il) (.Pcki^lai) 

DRAMATIC OPERA IN TWO ACTS 

Libretto and music by Rugeieto Leoncavallo. Firet performed at the Teatro dal Venne. 
Milan, on May 21. 1892; in London, May 19.1893. Fint New York production June 15, 1094, 
with Kronold. MonlegHffo and Campanari. Some famous casts o( recent years at the Melio. 
polttan and Manhattan opera; Caruso. Farrar, Stracciari — Alvarez. Scheff, Scotti — Fairar, 
Bars. Scotti— Cavalieri, Rousseliere, Scotli— Deveyne. Martin. Campanari— Donald*, Bum, 
Sammarco, etc. 

Characters ia tbe Drama 

NEDDA INtt-Aih) (in the play "ColumhliK"), a strolling player. 

wife of Canio Soprano 

CANIO (KaH-na-ah) (in the play "Pagliacdo " {Panchlndle]), 

master of the troupe Tenor 

TONIO (r<>A'-n»iM (in the play '■TaJJeo"). the clown Baritone 

PEPPE (ft(('.|«») (in the play "Hailaialn") Tenor 

SILVIO. tSir-cct^l,] a villager Baritone 

Villagers and Peasants 

Tht sane la laid In Calabria, near Monlallo, or. the FtasI of iht Aiaumpllon. 
Period, beiween 1865 and 1870. 



J 



VICTOR BOOK OF THE OPERA— LEONCAVALLO'S PAGLIACCI 



THE PROLOGUE 

Leoncavallo chose to introduce his characters in a novel manner, and wrote this number 
in the midst of the orchestral prelude, when Tonio comes forward, like the prologue of ancient 
Greek tragedy, and explains that the subject of the play is taken from real life, and that the 
composer has devoted himself to expressing the sentiment, good or bad, but always human, 
of the characters he introduces. 

Prologo (Prologue) 

By Pasquale Amato, Baritone 
By Antonio Scotti, Baritone 
By Antonio Scotti, Baritone 
By Emilio de Gog6rza, Baritone 
By Titta Ru£Fo, Baritone 
By Alan Turner, Baritone 
By Alan Turner, Baritone 
By Pryor*8 Band 

Prologo (Prologue) (Complete in two parts) 

Part I— Si puo ? (A Word) 

By Titta Ruffe, Baritone {In Italian) 88392 
Part H — Un nido di memorie (A Song of Tender Memories) 



(In Italian) 


88326 


12-inch, 


$3.00 


(In Italian) 


88029 


12-inch, 


3.00 


(In Italian) 


81021 


lO-inch, 


2.00 


(In Italian) 


88176 


12-inch, 


3.00 


(In Italian) 


92040 


12-inch, 


3.00 


(In English) 


♦16157 


10-inch, 


.75 


(In En^bh) 


♦35002 


12-inch, 


1.25 




♦35158 


12-inch, 


1.25 






By Titta RufiTo, Baritone {In Italian) 

(a) Part I— Si puo ? (A Word) 
By Francesco Cigada, Baritone (In Italian) 

(b) Part II — Un nido di memorie (A Song of Tender 
Memories) 

By Francesco Cigada, Baritone {In Italian) 



88393 



12-inch, $3.00 
12-inch, 3.00 



♦35171 12-inch, 1.25 





The first part of the Prologue is in itself a miniature overture, containing the three repre- 
sentative themes associated with the main events of the drama to be unfolded. 

The first is the motive which mmmtmkf,^U'^^»y '"Z ^^ W 

always accompanies the appearance | J ff J . _'T ?fir^r n ' '^** ^^"^r imf ^ 
of the players or pagliacci: igi fl ^ 'T-'^^ W > 3 J 

The second theme represents tmftmm n j^m 
Canto's jealousy and is a sombre i 
strain suggestive of revenge : 

The third repre- c^«±s£=SLSs!JU=£L 

sents the guilty love , a, .,.f05i«Jl 
of NeJJa and Siloio: ^^g^^g^ 
and appears fre- ' 

quently throughout the opera, not only in the love duet, but in the last act, when Nedda 
refuses to betray her lover even with death awaiting her. 

The presentation of these themes is followed by the appearance of Tonio, the clown, 
who peeps through the curtain and says : 

Ladies and Kentlemen! 
Pardon me if alone I appear. 
I am the Prologue! 

He then comes in front of the curtain and explaiiis the author's purpose, which is to 
present a drama from real life, showing that the actors have genuine tragedies as well as 
mimic ones. 




Our author loves the custom of a prologue to 

his story, 
And as he would revive for you the ancient 

glory, 
He sends me to speak before ye I 
But not to prate, as once of old. 
That the tears of the actor arc false, unreal. 



That his sicrhs and the pain that is told. 

He has no neart to feel! 

No! our author to-night a chapter will borrow 

From life with its laughter and sorrow! 

Is not the actor a man with a heart like you? 

So 'tis for men that our author has written, 

And the story he tells you is true! 



* Douhlt-Factd Record— For Utk of opposite »ide tee DOUBLE-FACED PAGLIACCI RECORDS, pages /8, 

308 



VICTOR BOOK OF THE OPERA— LEONCAVALLO'S PAGLIACCI 



He then goes on to speak of the author*s inspiration, and says : 

A son^ of tender^ mem'ries 

Deep in his list'ning heart one day was ringing; 

And then with a trembling hand he wrote it, 

And he marked the time with sighs and tears. 

Come, then; 

Here on the stage you shall behold us in human fashion. 

And see the saa fruits of love and passion. 

Hearts that weep and languish, cries of rage and anguish. 

And bitter laughter! 

The beautiful andanle which follows is the most admired portion of the aria, and is 
indeed a noble strain. 

Ah, think then, sweet people, when ye look on us. 

Clad in our motley and tinsel, 

For ours are human hearts, beating with passion. 

We are but men like you, for gladness or sorrow, 

'Tis the same broad Heaven above us. 

The same wide, lonely world before us! 

Will ye hear, then, the story. 

As it unfolds itself surely and certain! 

Come, then! Ring up the curtain! 

The curtain now rises, as the pagliacd motive reappears in the orchestra. 

Opening Chorus— ** Son qua!" (They're Here!) 

By La ScaU Chorus (Doablf/aceJ—See pagc3t8) (In Italian) 16814 lO-inch, $0.75 

The first scene, representing the edge of a small village 
in Calabria, is now revealed to the audience. The people 
are engaged in celebrating the Feast of the Assumption, and 
among the attractions offered to the crowds who have flocked 
to the village is the troupe of strolling players headed by Canio. 
These wandering mountebanks are common in the rural districts 
of Italy and are known as pagliacd. They take with them a 
small tent (usually carried in a cart drawn by a donkey)* which 
they set up in the market places of the small villages, or any- 
where that they see a prospect for the earning of a modest 
living. 

A number of the townspeople have assembled in front of 
the little theatre and are awaiting the return of the clowns, who 
have been parading through the village to announce their ar- 
rival, as is the custom. As the curtain rises, the sound of a drum 
and trumpet is heard from a distance, and the villagers are full 
of joy at the prospect of a comedy performance. They express 
their excitement in a vigorous opening chorus. This is a clever 
bit of writing, but so difficult that it is seldom well given. The 
famous chorus of La Scala, however, under the leadership of 
Maestro Sabaino, have given this stirring number in splendid 
style. This oft-recurring phrase : 



SAM MASCO AS TOM 10 





LNf bk to kiMi, ikcfitaM. 



•C all fm-^im-ttm: 



which is presented with many odd modulations, produces a peculiar and novel effect. 

Women: See, there's the wagon! 
.My, what a fiendish din! 
The Lord have mercy on us! 
All: Welcome Pagliaccio; 
Long life to him. 
The prince of all pagliaccios. 
You drive our cares away 
With fun and laughter! 

The little troupe has now come into view and the noise is redoubled. Canio appears at 
the head of his company, his wife, Nedda, riding in the cart drawn by a donkey, while 
Ton/o and Peppt make hideous noises on the bass drum and cracked trumpet, which con- 
stitute the orchestra of the players. Canio is dressed in the traditional garb of the clown, 
his face smeared with flour and his cheeks adorned with patches of red. He tries to 



Bovs: Hi! They're here! 

They're coming back! 

Pagiiaccio's there 

The grown-up folks and boys 

All follow after! 

Their jokes and laughter 

They all applaud. 



300 



VICTOR BOOK OF THE OPERA— LEONCAVALLO'S PAGLIACCI 



addreu the crowd, but the noise i* tremendou*. 
Tenia beata the drum (urioutly to silence the 
voice*, but it » not until Canio has nised hii 
hand to comnund attention that he i> sllowsd 

Un ^rande spettacolo [ (A 
Wond'rous Petformance 1) 

By Antonio PaoU. Tenor: Fran- 
cesco Cicada. Baritone : Gaetano 
Pini-Corii, Tenor; and Sig. 
Roaci. Baritone 

(In Italian) B2009 12-inch, 13.00 
He begins to addien the peawnts in this 



%r;„ 






Come all, then, a 

The crowd boisi 

it the proapect of an 



nsly eipiew their joy 





i Ntdda to alight From 
. but linda Tonio, the Fool, there before him. Givins him a 
in (he ear, he bids him be off. and TonIo tlinkt away muttering, 
crowd jeer him, saying : 



n away. He goes grumbling ii 



One of the peasants invite* the players to the wine shop for a 
friendly glass. They accept, and Canto calls to TonIo to join them, but 
he replies from within; "I'm rubbing down the donkey," which causes 
a villager to remark, jestingly : 



Canio smiles, but knits his brow and 
evidently impressed by the ihoughl. 
Canio; Eh! What? 
You Ihink so? 
(//c baomta aerioia. and signing lo Ihe f/eaiar 
me round hint, hebegins to addraa than.) 

Un tal gioco (Such a Game !) 




'' 1=?^ 



VICTOR BOOK OF THE OPERA— LEONCAVALLO'S PAGLIACCI 



irT'^j::%x%s'ih" 



(IVllh a tudJtn change <4 tone) 



Ntdda, who i* luteninB, U auipiited uid aaya aniJe ; 
villaBen. rather puzzled at hia eamsitneM, oak him i( he is ■ 
himseK from hi* gloomy mood and aays lighdy : 




Hife 1 



It dearly! 



iHt appnacha Ntdda and ^f»a ha on the forehead. ) 
The Kund of bagpipe* (oboe) i* heard in the 

diMance. telling of the meirymsLing in the village. 

and the church belli begin to loll the call to veq>er>. 

The people commence to di«per*e. and Canlo again 

repent* hi» melodioui (train of invitation: 



Coro della campane (Chorus of the 
Bells) 

By L> Sella Chorua 

{In Italian) *3S172 12-ineh, *U9 
Thia ia the famous Bell Chorua, or " Ding Dong " 
Chonu, one of the moat remarkable numbers in the 
opera. It is sung with spirit, and the chiming bells are 
introduced in a most effective manner. The people go 
off singing and the measures die away in the distance. 



Ballatella. "Che volo d'angelli!" 
Birds W^ithout Number I) 

By Ainu Cluck. Soprano {In kalian) 74236 IZ-inch. 

By Giuseppina Huifuet, Soprano (In Italian) *391 72 12-inch. 

Ntdda, left alone, is troubled by her remembrance of Canlo'i manner and v> 
if he suspects her. She speaks of the fierce look he had given her, and says; 



(Ye 



But shaking off her depression, she become* once more alive to the brightness of the 
day, which fills her with a strange delight. A gay tremolo in the strings announces the 
theme of the birds, and ^e^a speaks of her mother, whom she said could understand their 
language. }Zt.af>.: Ah. ye birds wilhoui number! 



Understood whal thc/rc ^insmn, 

.\nd in my childliW, thuj would she sing mc. 

e brilliant Balatella or Bird Song, beginning : 



VICTOR BOOK OF THE OPERA— LEONCAVALLO'S PAGLIACCI 



It i* B moM beaudhil number with an exquiwte accompaniment, mninly o( atrinBi. 
Mme. Cluck gives it here in delightful faihion, ainsinB witK dazzling brilliancy, while a veiy 
fine rendition by Mme. Huguet ia offered am part a( a double-faced record. 

So ben che defortne (I Know That You 
Hate Me) 

By Giuseppina Hu^et. Soprano, and Fran- 
eeaco Cisada. Baritone 

(.In Italian) *3S173 12-iach. »IJS 
At the cloae of her aong NaiJa £ndi that the hideous 
Tanh has been hatening, and now seeing the handsome 
Columbine alone, begins to make love to her; but she 
scornfully orders him away. He persists, but his protesta- 
tions are greeted with mocking laughter, and Nedda says 
insolently : 

Nedda : 

Thfrf's linit, If vqu like. 




In a furious rage, Tooio swears she must listen to him 



Nulla scordai I (Naught I Forget I) 

By Giuseppina Huffnet. Francesco Cigada, and Ernesto Badini 

(ZJouiW utili ahm dutl) (In llailan) *39lr3 

Tertio, driven almost to madneas by Ntida'i scorn and ridicule, 
seize* and tries to kiss her. She strikes him across the face with her 
whip, crying : 

Oh. you woulJ. you cur! 
ToHio lscre«mh.nt: Tty Ihe BlMwd Virgin of Awimplinn, 




,\y; I 



D I 'picd fro 



ifai 



She tells him of Tonio't behavior and bids him beware, as the clown is to be (eared. 
Her lover cheers her and laughs at her feara, and they sing the beautiful love duet, in 
which Silolo urges her to fly with him; but she is afraid and begs him not to tempt her. 
He petaiata. and reproaches her for her coldness, until finally in a passion of abandon- 
ment she yields, singing the beautiful passage which begina the record: 

Then together they sing the lovely duel: 




VICTOR BOOK OF THE OPERA— LEONCAVALLO'S PAGLIACCI 



The lovera, who have cast Bude all prudence and Me only 
each cither, fail to obaerve Canto, who has been wained by Tank 
arid has hurried from the tavern. 



(.S^ji 



t Conle and glaa a ciy of /car. ) 



Aitalo Si^iiort (May Heaven Protect Him!) 

By Antonio Paoli Tenon Giuieppioa Huffuet. 
Soprano; Francesco Citfada, Baritone; Gaetano 
Pioi-Corii. Tenor {/nllalian) 92011 12-inch, *3.O0 
Canto, who ha* not aeen Sllelo, but has heard NtdJo'i part- 
ing words, now nuhea toward the wall. Ntdda ban his way. 
The record beipiu with the melodramic music written by Leonca- 
vallo (or this exciting strugslc. during which Canio pushes her 
aside and runa in pursuit of Sihio. 

Neooa (listtHixa omWokjI}): May Heaven proint him i 
Canio (/rem brhi«<ll: Scoundrel: Where hidcst 
ToHio Uaugkina lynicalhi: Hal Ha! Hal 
Kedoa tlarning lo Tonio ivilh loalh.«e): Bravo! Well done, Tonio! 
Tnmo (t«l/i fitHdiili ixtii/acticnt: M[ ihat I could do! 

But I liopr in the future t 
Cattto TC'Cntera^ out of breath and com- 
pletely exhausted. Aa he turns to NtJda with _ 
auppieased rage we hear at. 

t that dismal theme of revenge .- 

mpanies the 




paniment that dismal theme at 
which throughout the opera always ai 




I)ecau»' right now you'll fl 
BM U«Jiffer^„lly) ■■ 

CABio'(i« fre-iyi: 

Voul hy Cod in Heaven! 
And if up to (his moment 1 



Ntddtt proudly refuses. Filled with joy becauae of 
Silvio 's escape, she cares not what may be her own fate. 
Canlo, beside himself, rushes on her with the knife, but 
Ptppt holds him bacL and takes away hii weapon. Tonla 
comes to Ptppe a assistance, saying : 



Vou take i 



le back. 



Vesti la giubba (On With the Play) 

By Enrico Caruso. Tenor 
By Nicola Zerola. Tenor 



They Rnally persuade him to restrain himself, 
[ him to make ready (or the play, as the audien 

Nedda goes into the theatre and ConAi remiuns a 
head bowed with shame and baffled revenge ii 



VICTOR BOOK OF THE OPERA-LEONCAVALLO'S PAGLIACCI 



(ainou* oS the numberi in 

of P«gliBC<:io. lu heart- .'X 



We now come to the 
Leoncavallo*! opera, the grc ^ 

breaking pathoa never fails to touch the liftener, when 
■uch artiaU aa the Victor oSeri. 

The unhappy Canlo. left alone after (he exciting 
Nedda, wrings his hands ancl cries : 
Canio: 



The great aria now follows, in which the unfortunate Pagliscci 
describes how he must paint his face and make merry for the publi 
while his heart is torn with jealausy. 



Th 


« jxopl.. 


pay yoi 


., and 


If 


Hsflequi 


in your 


Coliim 


a1 


i/»Il will 


PaBliiccio; 


S'l:' 


iaceio, fo 

Ih, P.IU 


thil 




{He mooa ilomli/ loiairJ the thtain, 
hsa ntafil of iMing. he iurlea hli faa 
inio Ihe lent.) 

Caruao'a Canlo it still the great feature of Pagliacci, and hit magnificent singing of this 
famous lament cannot be described — it must be heard. In all that this artiat has done there 
is no piece of dramatic singing la equal in emotional force his delivery of the reproaches of the 
clown, which he pours out not only on his faithless wife, but on himself and the occupation 
that bids him be merry when his heart la breaking. Sametimes Caruso's voice merely delights 
the ear — here he aearchea the heart : and is not merely the greatest of tenors, but is the clown 
himself, full of the most tragic emotion. 

ACT II 
SCENE— 5an« a, Acl 1 

La Commedia (The Play) Part I. Serenata d*Ar- 
lecchino (Harlequin's Serenade) 

By Giuseppini Hutfuet and Gaetano Piai-Corsi. 
^4 {Chatk-fiiad—SvetttSfa) (Inlialian) 3S1?4 12-ineh. »\^i 

Passing over the preparations for the play and the quarreling 
horua of the peasanta as they fight for the best 
nleresting without tb< 
comedy. The curl 




which i< 
Ement of the 
is drawn aside, discloiing a small room with 
the back. Nedda as Columbine ia 



:overed walking about anxiously. The tripping m 
which runs throughout the . ~_ 
action o( the comedy now | ^^-J^ ^"l^-J 



Serenade, hi 
ginning: 
in which he extravagantly rhapsodl 




VICTOR BOOK OF THE OPERA— LEONCAVALLO'S PAGLIACCI 




La Commedia (The Play) Part II, E dessa I (Behold Her ! ) 

By Giuseppina Huguet, Soprano ; Francesco Cigada, Baritone ; and 

Gaetano Pini.Corsi, Tenor {In Italian) ♦35174 12-inch, $1.25 

Tonio as Taddeo, with his basket, now peeps through the 
door and says nUi^JLSf^x omiMbiii—^i ^tuhMfci^,— ^> 
exaggeratedly, 
with a comical 
cadenza: 

The audience laughs in delight as Tonio tries to express his love 
by a long exaggerated sigh. Columbine tries to suppress him by 
inquiring about the chicken he had been sent for, but Tonio kneels, 
and holding up the fowl says : 

Sec, we arc both before thee kneeling! 

His pretensions are cut short by Harlequin, who enters and leads 
him out by the ear. As he goes he gives the lovers a mock benediction, 
singing : 

Then I my claim surrender. Bless you, my children I 

This scene is most cleverly done and the three records depicting 
the little farce are among the most enjoyable of the series. 

Versa il filtro nella tazza sua! (Pour the Potion 
in His Wine, Love !) 

By Antonio Paoli, Tenor ; Giuseppina Huguet, Soprano ; 
Francesco Cigada, Baritone ; and Gaetano Pint- 
Corsi, Tenor {In Italian) 91073 10-inch, $2.00 

By Augusto Barbaini, Tenor; Giuseppina Huguet, Soprano; Francesco 
Cigada, Baritone ; and Gaetano Pini-Corsi, Tenor 
{DcuUe-faoed— See page 318) {In Italian) 35175 12-inch. 1.25 

The lovers now partake of their feast and make merry together. Harlequin takes from 
his pocket a little vial, which he gives to Columbine, saying : 




AMATO AS TONIO 



ITaklequin: 
Take this little sleeping draught, 
'Tis for Pagliaccio! 
Give it him at bedtime, 
And then away we'll fly. 



Columbine (eagerly): 
Yes, give me I 



Upon the scene suddenly bursts Tonio, in mock alarm crying : 

Tonio (bawling loudly): 
Be careful I Pagliaccio is here! 
Trembling all over, he seeks for weapons! 
He has caught you, and I shall fly to cover! 

The lovers simulate the greatest alarm, at which the excited spectators are highly pleased, 
and applaud lustily. Harlequin leaps from the window, and Nedda continues the scene by 
repeating Columbine's next lines, which by a strange chance are the very words she 

had spoken to 

5f/o/o earlier inl 

the day : 



OBIiOM. (M iIm wlBdsv) 




IT 

Tin I* • algM, 



vrt^f^^' im f f I "c c g { 1 



Aai far •* • w 



la ■ # 
I «WI to 



Canio, dressed as Punchinello, now enters from the door on the right. 

Can 10 {with suppressed rage): 
Hell and damnation! 
And the very same words, too! 

(Recovering himself) : 
But, courage! 

(Taking up his part): 
You had a man with you! 

CoLU M Bi N E (lightly) : 
What nonsense! You are tipsy! 



Pagliaccio {restraining himself with difficulty): 
Ah, if thou wast alone here 
Why these places for two? 

Columbine: 
Taddeo was supping with me. 
He's there — you scared him into hiding! 

Taddeo (from within): 
Believe her, sir! She is faithful! 

(Sneering) : 

Ah, they could never lie, those lips so truthful! 



315 



VICTOR BOOK OF THE OPERA— LEONCAVALLO'S PAGLIACCI 

The audience laugh* loudlv, which enrvBes the unhappy man, and FoigettinK hia part 
he tuma to Ntdda and fiercely deinanda the name o( her Icnrer : 

Canio: Wom«n, 'tis thy lover's oame I w»nt. 

The wretched Koundrel from whose arms thou comeM! 
Oh, shameleu womanl 
N'IDDA ilaiittly, much alatrntd): Pagliacciot PaglEacciol 

No. Pa^liaccio non son t 
(No, Punchinello No 
Morel) 

By Enrica Caruao. Tenor 

illahari) 88279 12-inch, I3.00 
By Antonio Paoli. Tenor 

ilUillan) 92012 12-inch. 3.00 
By Nicola Zerola, Tenor 

(Italian) 74247 12-inch. 1.90 
By Aueufto Barbaini, Tenor 

{Italian) 1■3M7^ 12-incli. 1.29 

Tlirowing off entirely ihe maak 
ot the player, Canio become* again 
the jealoua huiband, and aingi thi* 
sreat aria, which i* aecond only to 
the f eiff la glubba in dramatic power. 
Canio; 
No. PaaliacciQ, I'm not! 



The people, while a tittle . 
zled by *uch inlenaity, loudly ap- 
plaud what they think ia a ' 




And now. wLlh mv eonte, 
I'll cruih thee under heel 



longer a player, but a man, and protentB aa a man againaC the v^rong inflicted upon him. 
Hia paaiion give* place to a aoEter attain aa he ■peaki of hia love for Ntdda, hia (ailh- 
fulnera and hia aacrificea for her. At the close ia the intense climax, with iu splen- 
did high B flat. Other fine renditiona of the air are by Paoli. Zerola and Barbaini. 

Finale to the Opera 

By Antonio Paoli, Tenor; Giuaeppina Huguet. Soprano; Francesco 
Cigada. Baritone; Cactano Pini-Corai, Tenor ; Ernesto Badini, 
Tenor; and Chorus (/n llatlan) 92013 12-iaeh. *3.00 



VICTOR BOOK OF THE OPERA— LEONCAVALLO'S PAGLIACCI 



'••MCCC** 



Tho close of Canto I great 
•i t, " No. Pagliaccio No More t " 
im Breeted with loud ciie* of 
" bravo" from the excited bu- 

NtJJa is DOW thoroughly 
alarmed, but coumgeoumly 
facea her husband with out- 





r^. 


xm^M 


Tt 


<f 


Cahto llngking loudly): 

Oh; nothing teller would-.t 




^^ ^.^^^ 


No; by Heaven, for be>e ihou 

triea to continue the pky.and 
a* the little gavotte movement 


The cro 

CaHIO (Hfl 


Thtre'n no 

wd hegina to laugh, but it ch 
eallji): Ah. you defy mc: 


Taadco. Hiswcc! 
ecked hy^ Canh', 




Nedda (Iftroan 
iPr 


...,„K".".r,;,"-"'<'" 

Tni faithlej^. or whatfver 
udii-): Bui cowardly, no, tifverl 


you eh 


youl 
QOBC to call 


- Mk 



At she ainga we hear triumphantly appearing above her 
love motive: 



telling of her paawon for Silolo, which ia to endure even unto death. 
Caalo now ruahea toward her, but ia leatrained by 7(H)A>andPcp)K' 
NtJJa triea to escape, but Canio breaks away and ataba her, crying : 



Ntdda (atU, a 
Sllvh, whohasdra 



You « 



with a laal hint effort calla : 

"Oh, help me, Silvio." 
n hiadagger, rushes to her. when Canfocries : 

Ah. 'iwas you; 'Ti* well! (Siabt *im.) 

The comedy ii ended ; 
Then once more ia heard the tragic motive of jealousy and death, 
by the orchestra as if rejoicing at its final triumph. 
Carialn. 




VICTOR BOOK OP THE OPERA— LEONCAVALLO'S PAGLIACCI 
DOUBLE-FACED AND MISCELLANEOUS PAGLIACCI RECORDS 



([3M71 l2-iaeli.(l.29 



tht Carder,. Maud 

By Pryor's Bindl 
Bn Pijior't Band} 
/Coro delta campane By La Scala Choruf (/n hallan)\ 

(Che volo d'anfclU By GiuMppina Huguet. Soprano (Italian)} 
/So ben chc deforme By Huffuet and Citfada (In Ilaban)\, 

tNuUa scordai! By Huffuet, Cicada and Badini {In Ilallan))' 

I La Commedia — Part I By Hu^et and Pini-Corsil 

La Commedia^Part II By Giuaeppina Hutfuet, Soprano; p5I74 
Francuco Cifada. Baritone: Gaetano Pi ni-Corai, Tenor) 
{Versa il filtro nella tazza sua I ) 

By Barbaiai. Huffuet, Cifiada and Pini-Corsi (h Ilatlan)\3il7i 12-incb. U9 
No. Pagliaccio non aont By Aufusto Barbaini (/n Italian)} 
rProIoffue By Alan Turner, Bariton 

\ Broun Eyes By Alan Turner, Barllon 



35156 12-inch. 1J5 



3S172 12-iaeh, 1.25 



95173 12-inch. 1^3 



12-incb. 1.25 



M68U 



0-ineh. .73 



Gems from Pagliacci 

Chorus — "Ding Dong" — "This Evening at Seven " — Bird Song. "Ye Birda 
Without Numhec"— "PaBliaccio'i Lament " (Vesti l> gitibba) — Duet. The 
Comedy, "Juit Look My Love" — Chorus, "See, They Come" 

By Victor Opera Company (In English) 31876 12>inch. tl.OO 

The Victor's potpourri opens with the famoui Bell Chorus, or "Ding Dong"Chorua, 

one o( the moat remarkable numbers in [he opera! Tlie chiming bells ate introduced in a 

most effective manner, and the measures die away in the distance. 




Then 






to the peBsants. telling then 
the play which -will be given that 
evening, followed by NtdJa', 
beautiful song to the birds, with 
its exquisite accompaniment. 

Next we have the most fa- 
mous of the numbers in the 
opera, the great lament of Fag- 
llacdo. Mr. Rogers now goea 
to Act II for B bit of the de. 
lightful comedy duet between 
Colamblnt and Harlequin, and 
concludes the record with the 
rousing chorus of villagers 
which greets the coming of the 
players at the beginning of the 
opera. 

This is one of the finert 
records of the Opera Company 
scries, the masterly arrange- 
ment being given by the Vic- 
tor's famous organization in a 
most admirable manner. 




PARSIFAL 

A FESTIVAL DRAMA IN THREE ACTS 

Music by Richard Wagner ; libretto by the camptuer, baaed on the Eamoui Grail Legend. 
Firit produced at Bayieuth, m Germany, July 2S. 18S2. and not eltewhete until December 
24. 1903. when it wai given at the Metropolitan Opera House, New York, in spile of the 
delermined opposition of Mme. Wagner. A production in English waa afterward given 
by Henry W. Savage's company, which toured the United States. 

Characters 

TrrUREU a Holy Knight Baaa 

AMFORTAi hii aon Baiitone 

GURNEMANZ, a veteran Knight oF the Grail Baa* 

Parsifal, a "guileleu fool" Tenor 

KUNCSOB, an evil magician Baas 

KUNDRY Soprano 

Knights of the Gnil ; Klingsor's Fairy Maidens. 



VICTOR BOOK OF THE OPERA—WAGNER'S PARSIFAL 



The: 



THE STORY 

of the Grail it pcrhapA the ' 



It beautiful "^ 



toiyol 
D leiendaiy lore. WaBner'averaion. which v 
by a mediceval epic written about 1300 by Wolfram von 
bchenhach, of Hiuringia, whom Wagner hai alreatly 
introduced to u* in Tannhaiuer. tell* of the Holy Grail, 
the cup from which Christ drank at the Last Supper 
with Hia diiciplea, and into which was placed the blood 
which flowed from the woundi of the Saviour. 

Thii aacred cup, together with the lance which 
cauaed theae ^tfounda, waa in danger of profanation from 
inhdel kanda, and waa therefore aent by holy meaaengera 
to a pure Knight, Tllaid. who built a aplendid aanctuary 
on an inaccessible rock in the Pyreneea and gathered to- 
gether B company of Knighls of unimpeachable honor, 
who are devoting their lives to the guarding of iheCtail. 
Once each year ■ dove descends from Heaven to renew 
the aacred powera of the Grail and its guardians. Such 
a subject as this, mystic, symbolic and poetic, so inspired 
Wagner that in Pani/al he reached hia highest aphere 
aa a compoaer. By no other writer or composer baa thia 
most beautiful of legenfls been so reverently treated, or 
given such a wonderful significance. 

The events which are supposed to occur before the ' 
opening of the opera must be understood before ■ clear 

idea of the action of Wagner's work can be gained. 

Tllanl, Ending himacK growing old, appoints his son, 

Amfortat. as his successor. Near the Caatle of Monaalvat there Uvea Klingtor, a Knight, who, 
feeling himaelf growing old and wiahing t(^atane for his aina. vainly tries to join the Order 
of the Grail, hut without avail. In revenge, he consulta an Evil Spirit and plots to bring 
about the downfall of the Knights. To this end he invokea the aid of a company of sirens, 
half women and half fto^^era. called flower girls, who dwell in a magic garden. One by one 
the Knights have fallen from grace because of the alluiementB of the flower maidens, until 
An^orlas, seeking to end these fatal enchantments, reaolves to go himself, cariying the sacred 
Lance, which he ia confident will be proof against the magic of the Birens. But, alasi be is 
not only defeated, but is wounded by the aacred Lance, which his enemy seizes and turns 
against him, making a wourid which nothing can heal. The unhappy Amfortat retuma to the 
Castle weighted with an eternal mmorae and a perpetual agony from his wound, but is forced 
at head priest to continue to celebrate the Holy Riteat all the while feeling himself unworthy. 
In vain he seeks far and wide (or a remedy for his wound and forgiveneaa for his sin, until 

only a guileless fool (I. e., one 
hom heavenly mesaengera will 
guide to Monsalvat. will be 
able to bring him relief. 

Amforta,- downfall was 

brought about by a strange 

being. Kundrn, who seems 

She 





enee of KUng«„. as a woman 
of terrible beauty, who lure* 
to their rain all Knights who 
come within her power. This 



VICTOR BOOK OF THE OPE R A— W^AGNER'S PARSIFAL 




ir Motaahal 

The riae of the curtain ahowi Gumcmanz, a veteran Knight, with two novicei, aileep. 
Trumpet calU from the Castle awaken them, and they join in prayer, afterward preparing 
the hath with which Amfortaa aeekg to heal his wound. Messengers from the Casde report 
that the latest halm which he had tried failed to hring relief. Cutntmanz is much grieved, 
and sinks down in dejection, until he Is roused by the approach of Kandiy, who comes in 
hurriedly, dressed in sombre garments and in her normal mind, but exhaualed with fatigue. 
She brings a new remedy which she had sought in distant Arabia. When Amfortia arrives 
with his train for a bath in the sacred lake, the new balm is offered to him. He accepts and 
thanks the stiangC'looking woman for her kindness. When the procession departs the 



:8 attack Kundry, calling her a sorceress, but she is defended hy Cumi 



.ubi« 






lella, during which she vanishes for 



l«r a curse sh. ma;' have b«n 
"become, """'' 



Bui -filurel knew bo ; 
When he yon casllc cor 
We found her itIecpinR 
All stiff, itfid. like des 
Tbut I miEelf did find 
TtiM when the trouble c 
Whieh yonder miscresr 
So tbsDi« fully did brin| 



VICTOR BOOK OF THE OPERA— \VAGNER'S PARSIFAL 





Could'^l thou do murder 

Here in lioly fores! ? 

Why hsrined lh« tbal goodly Swan? 

Suddenly • wild swan falls wounded at the feel 
oF Gamanam, and two Knights appear dragging the 
inncx:ent Panffal, who had shot it, not knowing it 
was under the King's protection. He is reproacbed 
by Curnanara and questioned, but can tell little of 
himself. He Temembers that his mother was called 
HcrxrUid and lived in a forest. Kundiy, whose atten- 
tion it attracted, explains that the youth's father waa 
Gamurtl, and after his death in battle his mother 
look him away from the hounts of men lest he meet 
the same fate. She is now dead, and Pantfal >• a 

The Irainof j4nt/(>rfiuagain approaches, returning 
from the lake. Gamanam invites Parsifal to accom- 
pany them to the Catde, the thought having occurred 
lo him that this strange youth may be the " guileless 
fool " who is to be ihe means of Amforiat ' regeneralion. 
322 



VICTOR BOOK OF THE OPERA— WAG NER'9 PARSIFAL 




ihidg cojnt^ (he King ajEain' 
a the holy FeasI Ihen cond 



^uiclv Ihe Grail will (ccd and rcfreih thee. 
[He has gently laid PartifnI-i arm on hh own 
ntlk, and, lupporling his body with hii arm. 



Methinks I know Ihee now i: 
Ko ranhly road, lo it doth lei 

Who V"itBdf"is not de«cd. 



The change to the Caatlc Hall is here effected by a moving scene behinJ Gurnona/u 
atid Panffal, mo that tbey seem to be walking slowly along, at fiiM through the (oreat then 
into a covered gallery which aacendt to the Cattle. This effective <levi<;« wm fint used Bl 
Bayreutb, and afterward in the American lepresentationB. 



J 



VICTOR BOOK OF THE OPERA— W^AGNER'S PARSIFAL 




SCENE ll-Tht CaaU Hall 

The tvn> suddenly find themielvet in a VB*t hall, filled willi a strange light, while invis- 
ible hells are pealing. Panlfal is dazzled and faacinated by the wonderful sight, while he 
is carefully watched by Qamanam. who hopes to see aigns of an awakening knowledge of his 

In the hall the Knights are preparing for the daily riles which occur before the Holy 
Ciail. Then one of the most impressive scenes in the opera takes place. The unfortunate 
Amfort"* IS brought in on a couch and prepares to preside at the ceremony. In agony of 
mind and body, he endeavors to postpone the rites, but the voice oF his aged hther, Titanl, 
is heard from the darlc chapel commanding him to proceed. Amfortaa, in a heart-breaking 
plea, begs Heaven lo permit him to die, to end his intolerable sufferings. 



No! Lta 


v.- it 




















'Gainst 


1- H 


















nnr 


■mid Ih= 1 








And pra 







VICTOR BOOK OF THE OPERA— WAGNER'S PARSIFAL 




llav 



.... .,. Have] 

ad of pity, abl hivi 

hean), urging Amfort. 



■ again heard, urging Amjorlai lo proceed, and the pain-racked priest 
raue* tumaelt trom the couch and offen the prayer of conKcradon. Aa he apealu a blind- 
ing ray of light atreania down from the vault above and fall* on the Grail, which glow* with 
a great luMer. The Cup ii covered and all partake of the hread and wine, after which they 
file alowly out During the ceremony Panlfal ha> atood (aacinated. but with impaarive face. 
Cantottanx, finally out of patience, comea up and ihruata him out, aasring: 



4 tht curlain fillt.) 



VICTOR BOOK OF THE OPERA-WAGKER'S PARSTPAL 




ACT II 

SCENE— /QfrvsarV Magic CasUt 

mil and Jown into darkneu below the slsge, which representi tl 
on a rampatt hefore a metal mirror. 



! tuttlemented (um- 
mmpart. Magical 
1 lining at one side 



Arise! Draw nfar to met Gundryagia Iht-rt. kundry hcrt; 

Thy master aWs Ihcc, namtlcgs woman: Approach! Approach Ih™, Kundryl 

SheLucifcrl Rose of Hadcsl Tiy master calls— appearl 

In the bluiah light arise* the form of Kandry. She i> heard to utter ■ dreadful cry, aa if 
half awakened from a deepaleep. She tries to reiist bim, haxKltngtot's power over her finally 
prevail*. He tella her aha muK tempt P<in(/iij, who ia now approaching the Catde of Kllngtor. 
Kmngso* (wTBiftfiiiJ)') : r 



1 halh repented; 



SlTCS 



II hei Weak— all 



VICTOR BOOK OF THE OPERA— WAGNER "S PAR8IFAL 




VICTOR BOOK OF THE OPERA— WAGNER'S PARSIFAL 




For gold we do nol play 
Itut only for lovc'i awcrt pay. 
Wouldst Ihou console us rightly 
Then win it from us, and l.ghily. 

Some have gone into the grove* 
and now return in flower dreuea, ap- 
pearing like flowem themKlvea. They 
playFully quarrel (or poBenion of Par- 
lifat, who stands looking about him in 
quiet enjoy ment of the scene. He 
nnalty gentiy repulses them, saying : 



If I 



d of beautiful flowi: 



A> they push closer to him he 
becomes angry and tries to fiee, but his 
attetition is suddenly arrested as Kundr^ 
calls, ■■ Parsifal, tarry!" He stops in 
astonishment, saying: 

Parsifal , , .7 



FlowVs 
He cam 






With gentle k 

Gently laughing, they disappear into the Castle. The form of KunJry now become* 
visible as a woman of exquisite beauty, reclining on a flowery couch. 

.guileless fool, an "Parsifal." 



What 



t thou 



fis? 



y fall 



Ich sah' das Kind (I Saw the Child) 

By Mar^areteMatienauer, Mezzo-Soprano In German 8S364 12-inch. «3.00 
Tenderly gazing at the now attentive youth, she begins, sofdy : 

Kukdsy: _ That through like hap thou shouldst noi lan- 



Its infant lieuing lau«h 

Though filled with 

How laughed then ev 

When, shouting gh 

It gave het soiroH-^5 

In leds oT moss 'twa 






Bencalh the dew of mother's wee| 
Caused hy thy father's'dca'lh Tn'd 



VICTOR BOOK OF THE OPERA— WAGNER'S PARSIFAL 



Par3(fal i> greatly affected and sink* at Kundn/'i 
Eeet, diatreasecl. She embiaccB him tenderly and tries 
to comfort him. while he aeema to imagine that it is 
again hia mother whoie gcnde embraces he ia receiv- 
ing. As she give* him the kiu which is to complete 
his subiection he awakes to a knowledge of liis mis- 
sion, realizes Kandry'a evil purpose and repulses her 
with scorn. She pleads with him, playing on his 
sympathies : 



KuNP 



a thy b™ 



I He 



Hm for one hour together 
Though forced from God ai 


Ihiobbini; 
ned"bythe 


Eternally should I be damn 
If for one hour I forgot m 
Within thv arm's embracini 
To thy help also am I sent. 
It ot thy cravings thou rep 
The solace, whicli shall end 


^e^haU'el. 


Salvation canst tltou never 
Till that same spring in th< 



Finally, enraged by his icfusal, she calls for help. 
Fearing that he will es- 
cape, K/ln^r and th( 




VICTOR BOOK OF THE OPERA— WAGNER'S PARSIFAL 




SCENE — A tpring lanJicafie In the grounds of Monaalcal. Al the had^ a imall htimilage 

Gamananz, now an aged man, in hennit'a dreu but still wearine ihe tunic of a Knight of 
the GtbiI, cornea out of the hut and listent. He then goes to a thicket and luids KanJiy 
apparently lifeleu, but ahe revive* under hi* minietrationi. She is dieaaed as in Act 1, and 
•oon aritCB and goes immediately, like a serving maid, to work. She enters the hut, pro. 
cures B water jug which she fills at the spring. Gurnanant watches her caiefully, seeing signs 
of a change in hei. Panifal now enters from the wood in complete armor and seats himself. 
Gumananx, not recognizing him, reminds him that no armed knight is allowed in the sacred 



premises, and especially 
remove. hU h. ' 
to Kundiy: 



<d kne 



I by what path aye 
It Spear— I recogni. 



1 his prayer, gazes calmly a 



n have found thee 



VICTOR BOOK OF THE OPERA— WAG NER'S PARSIFAL 



the Ouitle. 










GU.N 


■I.H 


















































17™ 












<bx 







o fulfill hi; holy office. 



He u on the point of falling, help- 
teisly. Cumonaiu supporta him and al. 
lowi him to sink down on the grauy 
knoll. Kundry haa brought a baain of 
water with which to apnnkle Par^fal 
hut Gumcmam wavea her away aay ns 
that holy water aloi 



ray aay ng 
e uaed fo 



Patrol aaks to be gu ded to Am 
foHat, and Gumtmaia and Kandty havy 
themaelves in preparing h m for (he or 
deal. KunJiy bathe* hia feel and dnes 
them on her hair. Paijifal asks Game 
manx, who by his pure life has become 
worthy of ihia office, to ano nl h m with ci 
the water of pucification and the con f 
lent* of the golden vial wh ch Kundry 
produces from her boiom Gumananz ^ 
conaenta, and bestows on Parai/al the "j. 
title of Prince and King of the Gra I "^ 
Paalfal now look* at Kundiy w th deep *^ 
compasmon, and taking up *ome water 
sprinkle* her head, saying 



My blindnc 
I. »ho Id ! 

AM palht 




These lendriti burtlina with blossom. N™ M.rcly pvcrylhinn that Ihrives. 

Whost scenl recalls my childhood's days That brfolhcs and lives and lives again. 

And apeaks of loving IrusI to me. Should only oiourn and sorrow? 

Gumanam explain* that this beauty of the woods and fielda is caused by the apell of 
Good Friday, and that the flowers and trees, watered by ihe testa of repentant ainneia, 
Bxprcsa by their luiutiouaneaa the redemption of man. 



VICTOR BOOK OF THE OPERA— WAGNER'S PARSIFAL 





Char-Freitags Zauber (Good 
Friday Spell) 

By Herbert ^'itheripoon, Biia 

/n Qaman 74144 12-uicll. 11.90 



Thou sa-sl. t 
rpcnUnt tears of 
wilh holy Ti\n 
d field and plaii 



earthly creatures in delight 



n Ihe Cross Ihcy have i 



ThrouRh God's 



That mortal foot to-day il need nol 
For, as the Lord in pity man did sj 
And In His mercy for dim bled. 
All men will keep, with pious care. 



Now to her day of inoocenee. 



VICTOR BOOK OF THE OPERA— WAGNER'S PARSIFAL 

eyea. eamettl)' and 



EKstant bells are heard pealing, very gndually ■' 



". fcT 



Garnanan* has brought out a coat-of-mall and mantle of the Knights of the Cnil. which 
he and Kimdry put on Panifal. The landKSpc changei very gradually, aa in the fint act 
Panifal aolemnly grasps the Spear, and, with Kundiy, Follows the conducting Camanata. 
When the wood has disappeared and rocky entiances have presented themselves in which 
the three become invisible, processions of Knights in mourning garb are perceived in the 
aTched passages, the pealing of bells ever increasing. At last the whole immense hall 
becomes visible, )ust as in the first act. only without the tables. There is a faint light. The 
dooTi open again, and from one side 
the Knights bear in Tilunl'i corpse in a 
coffin. From the other .4m/orfiu is carried 
on in his litter, preceded bythe covered 
shrine of the Grail. The bier is erected 
in the middle; behind it the throne 
with canopy where An^ortat is set down. 

FlsST Thaih (Ku'lft tht Grail and 
Amforuii: 
To sacred place in sbeltcring itarine 
Tht Holy Grail do wc carry; 



ice G«f did 



Warned of thy duly to all. 






AuFDiTAS (raising himielf oi 


t Ai 


1 cauch 


lljglicst venerated hero! 










, ^"a^nU-Se'ndiS,"'"""""' 




i'en the 


Oh! thou wbo now In Hove 




heights 


Host behold the Saviour's h 


■If. 




Implore Him to grant th< 


,t Hi* hal. 


lowed blood, 






He pour upon these brother! 






To them new life while givi, 






To me may olTer — hut Death 






My father! I— call thee. 






Cry thou my word, lo Him: 






"Redeemer, give to ny son i 


■eles 




StvniAL Kmichtj (pressing 1 




ri ^m- 


f»rla.1: 






Uncover tbe shrine! 






Do thou thine office! 






Thy father demands It; 






Tbou muil, thou must I 






AuroRTAS (in a paroxysm 


."' 


dllfair 


•brings MP a»d throK-s h, 


Tk) 


■If amid 




VICTOR BOOK OF THE OPERA— WAGNER'S PARSIFAL 




All ha 
Mielches oi 



le shrunk back In awe and Amforiaa slanda alone in fearful t 
rd by Gumanam and Kundiy, baa entered unperceived, and 
It the Spear, touching Arafartai' aide with the poinL 



with holy rapture, and be lottera with emotion. Gun 

: unsullied and ahsolvsdl 
w KDVfrn in thy iiiacc. 



n the Spear which Panlfal holds alof^ while be look* 



VICTOR BOOK OF THE OPERA— WAGNER'S PARSIFAL 




The boya open the ■krine and Pantfal takea 
from it the Cnil and luieela, abcorbed in its con- 
templation, silently ptaying. The Ciail glows with 
light, and a halo of gloiy pouia down over all. 
Tdunl. for the moment reanimated, raiMi himself 
in benediction in his coffin. From the dome de- 
•cends a white dove and hovers over Paraifal's 
head. He waves the Giail gently to and fro before 



nd Gumemam do homage i 

All (wilh voices from ihr middle 
hciuhls, SB soft us to fcc scared: 
Wond'rouj wort of mercy: 
Salvalion lo Ihe Saviour! 

{Thi cufMn falb.) 



MISCELLANEOUS PARSIFAL RECORDS 
Processional of the Knights of the Holy Grail 

By Arthur Pryor's Bind 31735 12-inch, *1.00 

Parsifal Fantasia (including the following moUots) 
"The Eucharist ■'—■■The F^wer Maidens"— "The Grail "■ 

By Arthur Pryor** Band 31242 12-inch, >1J>0 





PATIENCE, OR BUNTHORNE'S BRIDE 



COMIC OPERA IN TWO ACTS 



Libretto by W. S. Gilbert ; muiic by Sir Arthur SuUi- 
Comiquc London, April 23, 1861. FinI Am< * 
York. September 23, 1881. It wu revived < 
American Theatre, in 1900, by the Caalte Sqi 
Lyric Theatre in New Yorlc. 



FirM produced at the Op^a 

production at the Standard Theatre. New 

the Herald Square Theatre in 1696; at the 

re Opera Company ; and quite recendy at the 



Chiracters 
Wuti the Orinnul Americui Cut 

Reginald BUI^THORNE, a fle»hly poet Wm. White 

ARCHIBALD GROSVENOR, an idylhc poet James B. Key 

LADYANCCLA,! f Alice BurviUe 

LADY SAPHIR. Ip.„,^,..„,.,,„^ RoMChapelle 

LADY EUA R»PW«"» maiden. ^^^^.^ ^^^ 

LADY Jane, ) lAuguWa Roche 

Patience, a dairy maid Carrie Burton 

COLONEL CALVERLY, I ( Wm. T. Carleton 

Major MURCATROYD. kXGcers of the E)ragoon GuardafArthur Wilkinion 

UEUTENAKT DUNSTABLE.J I A. Cadwallader 

Guard*, Eathetic Maidena. 



Timt and Piact : Catllt Bunlhomt ; lAc tail cenfuijt. 



Patience it Cilbeit's famous aatire on the eathetic craze of the early 60'a, aet to aome of 
the moat delightful of ell Sullivan'a muaic. Thii absurd school of eitheticiam. reuresented 
by Oscai Wilde and his imitators, did not long survive the witty ridicule which Gilbert 
aimed at it. and soon disappeared. The opera waa one of the most successful of the Gilbert 
and Sullivan series, and well deserved its great vogue. 

In the first act twenty love-sick maidens are sighing, and singing plaintively of their love 
for Bunlhorne. Patience, a buxom milkmaid, appears and ridicules them, telling them the 



V I C T O 1 



t O O K OF T H 1 



O P B R A— P A T I E N C E 



Dragoon GuarJt are expected ahortly; but though the maidens doted upon the Dragoont a 
year ago they Kom them now. The Guardt artive. alto Banthome, followed by the fair twenty, 
who pay no attention whatever to the Dragoom but follow the poet, liateninE to his latest crea. 
tion, whereupon the Drafooni leave in a raga. When alone Bunlhome confesaei to himself 
that he is a iham. Palltnce appears, and the poet immediately nukes Jove to hei, but she 
is fiightened and runs to Lady Angela, who tells her it is her duty to love some one. Patience 
thereupon declares she will not allow the day to go by ivithout falling in love. 

Gn*oenor, the idyllic poet, and an old playmate of Patience, enters, and she promptly falli 
in love with him, but he remains indifferent Bvnihome, twined with gartanda, enters, led by 
the maidens, and, unable to decide between them, puts himself up as the prize in a lolteiy, 
but PaBence interrupts the drawing and announce* [hat she will be his wife. She IS 
promptly accepted, whereupon the fickle maidens tratufer their affections to GrojMnor. This 
does not please Banlhome, and he predicts that his rival shall " meet ■ horrible doom." 

In the opening of the second act we see a rather ancient damsel, /ane, mourning because 
of the maidens' desertion of Banihomt, who is content with a milkmaid. Cnucenor enters, 
followed by Patlenct, who tells him that she still loves him but that her duty is toward Bun- 
lhome. Bunlhome entera with Jane clinging to him in spite of all his efforU to get lid of her. 
Finally, in a jealous rage at Palience'i regard for the fleshly poel^ he exits with Jane. 
Now the maidens are beginning to make advances to the Dragoom, and the poets begin to 
quarrel with each other. Bunlhome aska Gnuoenorhow to make himself less attractive, and 
is told to dress himself in a more commonplace maimer. When the maidens find he ha* 

S'ven up esthetics they declare they will do likewise. Patience deserts BunfAorne for Gnuvtnor, 
e maidens find suitors among the Dragooni, and Jane goes over to the Dulfe, leaving 
Banihomt lonely and disconsolate. 

The Opera Company has given us a splendid medley of the airs of this delightful opera, 
no less than six of the moat interesting numbers. In abbreviated form, being included. 

Gems trotn Patience 

Chorus, "Twenty Love-Sick Maidens We" — Male Chorus. "TheSoldiers 
of Our Queen" — Solo, "Love is a Plaintive Song" — Solo and Chorus, "A 
Most Inteikse Young M«i" — Smtiel, "I Hear the Soft Note" — Finale. "Oh. 
List While We Our Love Confeaa." 
By th* Victor Light Op«ni Company . 31816 13-iaeh, *1JX> 




PESCATORI DI PERLE 



(Enflttb} 

PEARL nSHERS 



(AuM-iaA'-h Jet Pa/Jch) 

OPERA IN THREE ACTS 
Text by Ctari and Cormon. Music by CeoTgta BizeL Fiiat pioductioD at tKe Th^Atre 
Lyrique, PbiU, September 29, 1863. First London production, entitled "Leils," at CovenI 
Garden. Aptil 22, 1867; and as Pacalorl dl PerU, May 16^ 1689. First New York production 
January 11,1 S%. 

Cluracter* 

Leila, a priestess 

NAEHR. a pearl fisher 

ZURGA. a chief 

hJOURABAD, hish priest 

Priests, Priestesses, Pearl Fishers, Women, etc 






5cene and PerhJ : G^/on ; barbaric period. 



La Ftchain dt Perlca, one of Bizet's earlier operas and the first one to achiero success, 
is ■ work dealing with en Oriental subject and contains much music o( chaim and original' 
ity. showing traces o( that dramatic force which reached its full development in Carmtn. 
The character of the music, less passionate and highly 
colored than Carmtn, is yet equally original and of even 
more striking beauty. 

The story tells of the love of two Cingalese pearl 
fishers for the priestess Leih, and of the generosity of 
the unsuccessful rival, who helps the lovers to escape 
at the cost of his own life. 

THE PRELUDE 

The prelude is a most beautiful number, and con- 
sidered one of the finest of Bizet's instrumental 

Preludio (Prelude) 

By La Seals Orchestrs *62100 lO-inch. *0.79 
ACT I 
SCENE— rfc Coori of Ceylon 

The rise of the curtain discloses a company of 
Gngalese pearl fisheia. who. after choosing one of their 
number. Zurga, to be their chief, are enjoying themselves 
with games and dances. Nadir appears and Zurga 
recognizes him as a friend of his youth. They greet 
each other and speak of the days when they were 
rivals for the hand of a beautiful woman. Nadir, 



pnr 



the due 



[lalls the 



when 




friends first beheld the lovely Leila. 

(loliut) (FrsDob) 

Del tempio al limitar (Au fond du t£inple aaint) 

(EBfliih) 

(In the.Depths of the Temple) 

By Enrico Caruso, Tenor, and Msrto Anconi. Baritone 

{In Italian) 89007 12-uich. *4.00 

By Giorffini snd Pederici (In Italian) 88319 12-iach. 3.00 

By Clement. Tenor, snd Journet, Bass (In Frendt) T6022 ll-inch, 2jOO 

By Joha McCormack and G. Mario Simmirco (Italian) 87082 10-inch. 2.00 

^By Giuseppe Acerbi and Rcnzo Minolfi (In Ualian) '68063 ll-inch. I.3S 

*DmiUiJ=aaJRB^J-For Mjt afotfotllt HJ. „e DOUBLEJ'ACED PEARL FISHERS RECORDS, paf: 341. 



VICTOR BOOK OF THE OPERA— BIZET'S PEARL FISHERS 



he deacribes the at 



They 



a the . 



eak of their sudder 



M within the Temple o( Brahma : 

LiCtl her veil, revealing 

A face ibat haunts me Btlll 

With its beauty ethereal! 
N'Ania: 

Now a^l'ranee emotian Dverpawers me. 
I fear to touch thy hand. 

A faUl love both our souIe possm. 
a of the fact that they had both fallen in love at 



J hey apeak < 

lisht with die piieiten; and (earing their (riendahip waa in danger, they swon 

her again. The comiadea, now pronouncing themselvea entirely cured of theii infatuation, 

pledge anew their friendahip and swear to be brothen to the end. 

A fieherman now entera and announcea the arrival of the mjraterioua veiled lady who 
cornea once a year to pray for the succea* of the fiaheriea, and whont the Ceylonece have 
adopted aa their guardian saint. She entera and begina her prayer. Nadir recognizes her 
voice and realizes that it is the prieateaa Leila, The pearl fiahera aing a chorus of appeal to 
Brahma (or a bleaung, in which Ldla joins. 

Brahma gran Dio (Divine Brahma E) 

By Linda Brambilla. Soprano, and La Scila Chorus 

{In Italian) *68062 12-inch, fU9 

Tliis is a moat impresuve record, the lovely 
voice of Mme. Brambilla showing to great 
advantage above the choral background. 

Ltlla goes Into the temple and the people 
disperse. Nadir, left alone, is agitated by his 
discovery, realizing that he still loves the 
maiden. He recalls the memorica of his first 
sight of her !n a lovely song. 

Mi par d'udir ancora (I Hear as 
in a Dream.) 

By Flocencio Conatantino. 
Tenor (In ItaUan) 

74067 12-inch, *l.SO 




Leila tt 



Lhermen. 



Narflr!"! 



ACT II 

SCENE— ^ Ruined Tan^ 
As the curtain rises Ltlla and 
the high priest, are 
shelter in the ruins o 
high piiest, in a fine 



they having sought 

incient temple. Tlie 

ids Leila of her 

irriage and de- 



oath to renounce love and 
vote herself to the welfare of the people. She 
says that she will keep her promise and 
tells him of avow she made when a child to a 

Although his pursuers held a dagger to her 

iped to safety. 



*DtniM='<KtJH»!anl—Foi mk rf ^ann liU « DOUBLESACED PEARL FTSHEFS HECORDS, fm 



.341. 



VICTOR BOOK OF THE OPERA— BIZET'3 PEARL FISHERS 



•68062 12-mcli. 1^5 
«cly pursued by the prieata. 



Siccome un di caduto (A Fugitive, One Day) 

By GiuMppina Piccoletti. Soprano (In Italian) *68307' 12-inch, tl.25 

The high priett sternly recite* the puniihment which will overtake her shouM she 
prove false to her vow. "Shame and death be thy portion!" cries the stem priest. Left 
alone, the miserable woman broods over her unhappy plight. Bound by an oath which she 
now resTets, and conscious of her love for Nadir, which may mean death for (hem both, she 
sinks down in an agony of despair. Nadir enters and asks her to fly with him, defying 
Brahma and the priests. She at first repulses him, but love ii finally triumphant and the 
lovers rapturously emhiace, while a fearful storm rages, unheeded, without the ruina. 

This scene ia expressed by a splendid duet, two records of which are given here for 

Non hai compreso un cor fedel (You Have Not Understood) 

>, and Fernando de Lucia, 

(In Italian) 92094 12-inch. >3.00 
By Giufeppina Piccoletti. Soprano, and Ivo Zaccarl. 
Tenor {In Italian) 

The lovers are surprised by Noatahad, and Nadir flees, cli 
He is captured and brought back, while Zarga is summoned ti 
guilty lovers. His friendship for Nadir moves him to mercy, and h 
bids them fly the country. As they go, however, the high priest ti 
and when Zurga realize* that it i* the woman Nadir has sworn nei 
and sentences them both to death. 

ACT HI 

SCENE I— TAe Cnnp 0/ Zarga 

Zarga is discovered alone, brooding over the impending death of his friend and the 
woman he love*. Hi* mood of de*pBir is interrupted by Letla, who appear* at the entrance 
to his tent and asks him to diiimis* the guards 
and speak with her alone. She asks mercy 
for Nadir in a dramatic aria. 

Temer non ao per me (I Fear Not) 

By Emilia Cor (i. Soprano 

{In Italian) "63394 10-ioch, tO.rS 

She proudly refuses to plead for her own 
life, but beg* that he spare the friend whom he 
loves. Zarga refuses and summons the guard* 
to condnct het 



SCENE ll-Tfcs Ho« o/EtecKon 
The scene shows rfie wild spot where the 
funeral pile ha* been erected. Leila and Nadir 
are led in. and are about to mount the pyre 
when a red glow i« seen in the sky. and Zurga 
enters crying that the camp i* on fire, and bids 
the people fly to save their children and 
eflects. All run out except Ulla, Nadir and 
Zlrga, and the high priest, who, auspecling 
a plot, hides to hear what Zarga will (ay. The 
latter confesses that he kindled the fire in 




'DtOIc-foad Rtarii—Fot 1 



tilth ft DOUBLE-FACED PEARL FISHER RECORDS, pof 34 1. 



VICTOR BOOK OF THE OPERA— BIZET'S PEARL FISHERS 



Terzetto finale — Fascino etereo 

By Lindi Brambilla, Soprano; Giuieppe 
Acerbi, Teaor : FraDceico Cigada, BBritone 
{In Italian) "deObS 12-inch. I1.2S 

The loven praiae the generoaity and greatnen of 
Zurga, who for the sake of friendahip haa committeil 
an act which may coat him hia own life, hie bida them 
fiy at once, and they go ai the voice* of the enraged 
Indians are heard returning for vengeance. Noarabad 
denounces Zurga for the eacape of the victima and for 
the deatruction of the camp, and he ia forced to mount 
the funeral pyre. Aa the flamea mount about him he 



A> Zurga diea a fiery glow reveala that the forest ia 
ablaze, and all proatrate themaelvei, fearing the diapleaaure of Brahma. The curtain fal] 
the flamea envelop the atage. 




DOUBLE-FACED AND MISCELLANEOUS P£ARL FISHERS SELECTIONS 

(Del tempio al Umttar (In the Depihi of the Temple) 1 

By Giuaeppe Acerbi and Renzo Minolfi (/n Italian) I 
Terzetto finale — Fsacino etereo (68063 12-inch. *1.29 

By Linda Bcambilla. Soprano i Giuaeppe Acerbi. 
Tenor; Francesco Cifada, Baritone (7n Italian)] 

hai compreao un cor fedel (You Have Not Under- 1 
Itood) By Giuseppina Ptccoletti. Soprano, and 

Ivo Zaecari. Tenor (In Italian) [68062 12-inch. 1.29 
Brahma gran Dio (Divine Brahma I) By Lina BrambiUa. 

Soprano, and La Scsla Chorua (/n Ilallan)) 

iSiceome un di (A Fugitive. One Day) I 

By Giuaeppina Piccoletti, Soprano (In Ilallan) }6630r 12-inch. 1.25 
HtrmtM—S'le I'amo By MtlU anJ Taccard {In Italian)] 

Sousa's Band) . n i_„L , ~. 

niw'.SinJr**'" 12-inch, 1.2S 

fPreludio (Prelude) By La Scsla Orcheatra) 

j EhKO—Racbde atlor cht Iddio [62100 10-inch. .75 

I Bii Cina MarlinwPaai. Ttntr (In Ilallan) j 

ITemer non so pec me (I Fear Not) I 

By Emilia Corsi. Sopruto {In Italian) >63394 10-inch. .79 
Jana—Sl Jannalo motm By Taccanl {In Ilallan)} 

"baahkJ'aaJ SicorJi—For Hilt <4 <ip»otm tlJm mt aiocm lUL 



(French) 

LA PERLE DU BRESIL 

{Pairl da Breh-zeef) 
(Entflish) 

THE PEARL OF BRAZIL 

LYRICAL DRAMA IN THREE ACTS 

Words by Gabriel and Sylvain Saint £tienne ; music by F^licien David. First produced 
at the Tk6Atre Lyrique, Paris, November 22, 1651. Revived at the same theatre March, 
1658, with Mme. Miolan-Girvalho ; and at the Op6ra Comique, 1883, with Emma Nevada 
as 2^ra. 

Characters 

CWith the Orltf iaal Cut) 

ZORA Mile. Duez 

LORENZ, her lover Soyer 

ADMIRAL Salvador Bouch^ 

Sailors, Brazilians, etc 



The Pearl of Brazil was David's first dramatic work, and is the stoiy of Zora, a young 
girl whom Admiral Salvador found in Brazil, and whom he intends to educate and eventually 
to marry. They set sail from South America, but Salvador soon discovers that Zora has a 
lover, Lorenz, a young lieutenant, who has disguised himself as a sailor and is on board in 
order to be near his sweetheart A storm arises and the ship is compelled to seek shelter 
in a harbor of Brazil. The natives attack the ship and almost overpower the sailors, when 
Zora chants a hymn to the Great Spirit, and the Brazilians, recognizing their compatriot, 
make peace. In gratitude for the young girl's act, which saved the lives of all on board, 
the Admiral gives his consent to her marriage with Lorenz, 

The Charmant oiseau is the most beautiful number in David's opera, and is offered here 
by three celebrated sopranos. This is one of the most famous of colorature airs, and one of 
which colorature sopranos are very fond as it exhibits to perfection the skill of the singers, 
showing to rare advantage the flexibility of the voice, especially in the duet vrith the mite, 
with its difficult runs. 

Charmant oiseau (Thou Charming Bird) ^nh Flute Obbhgaio 

By Luisa Tetraxxini, Soprano (In French) 88318 12-inch, $3.0O 

By Emma Calv^, Soprano (In French) 88087 12-inch, 3.0O 

By Marie Michailowa, Soprano (In Russian) 61130 10- inch, 1.00 

Delightful bird of plumage glowing 

With sapphire and with ruby dyes, 

'Mid the shade his rare beauty showing 

Before our wonderstricken eyes; 

When on the branch with blossoms trembling, 

He poises swinging gay and bright. 

His checkered pinions gleams resembling 

A many-colored prism of light. 

How sweet is he, the Mysoli! 

When dav appears his ioyful singing 
Awakes the dawn's enchanted rest; 
When evening falls his notes are ringing, 
While fiery day fades from the west. 
A- down the grove the silence doubles. 
As now his plaintive dulcet lay, 
That breathes of love's ecstatic troubles, 
From out the tulip tree dies away. 
How sweet is he, the Mysoli! 

From DlUOD edltloD— Copjr't Oliver Ditaon Co. 
342 




H. M. S. PINAFORE 

OR 

THE LASS THAT LOVED A SAILOR 

COMIC OPERA IN TWO ACTS 

Text by W. S. Gilbert ; muaic by Sir Arthur Sullivan. FirM pnjduceci at the Op«ra 
Comiquc, London, May 2S, I87S. Fu-it American production occurred in New York in 1978^ 
but wna unBulhorized. and wat followed by the hrat important producdon at the Boston 
MuKum, in November. 1679. SucceuFully revived in New York in 191 1 and again in 1912. 

Charactera 
RT. Hon. Sir Joseph Porter. K. C B., Fir« Lord o( the Admiralty . . Baritone 

Captain Corcoran, Commandins "H, M. S. Pinafore" Baritone 

Ralph RACKSTRAW, ableaeaman Tenor 

Dick DEADEYE. able teaman Baa* 

Billy BOBSTAY, boatnvain'a mate Ban 

Bob BECKET, carpenter's man 

Tom Tucker, midihipmite 

Sergeant of Marines 

Josephine, the Captain'* daughter Soprano 

Hebe, Sir Jiueph'* firatcouain Mezzo-Soprano 

Little Buttercup, a bumboat woman Contnlio 

Fint Lord'* Sister*, hi* Counna and Aunts, Sailor*, Marine*. 

Time anJ Ptace: The Kent it laid on the quarUriaJt of "H. M. S. Pinafore": 
time, Iht preteni. 



VICTOR BOOK OF THE OPERA— SULLIVAN'S PINAFORE 

The production of this little opera niBrked the tempo- 
rary retirement of cpera houffe in America ; ita dainty muiic 
and thp aparkliiiK wit o( its dialogue being grateful to s 
public which was becoming satiaCed by the productions of 
German and French compoKri. Gilbert's satire was keen, 
but the wit was always delicate without a single touch of 
the coarseneu which frequently marred the opera boufft 

Pinafore has an inexhaustible fund of this Gilbertian 
wit. and never fails to please an audience. When first 
presented in London, however, so little interest was shown 
that the management decided to withdraw the piece, but 
its ultimate success was quite phenomenal. 
ACT I 



The story of Pinafore la so generally known that it is 
e repeating an old. familiar tale to outline the plot. The 




rise of the curtain shows the deck of His Majesty's Ship 
Ptnafan. The Captain is in a mournful mood because his 
daughter does not favor his plan to marry her to Slrjmtph 
Porter, and confesses that she loves an ordinary sailor. Soon 
after she meets Ralph, who tells her ai his love, but is 
haughtily repulsed. In desperation he threatens to shoot 
himself, and/oiepA'fw then confesses that she cares for him. 
Their plans' to get ashore and be married are overheard by 
Dkk Uaideye, a sort of comedy villain, who threatens to 
prevent their elopemenL 

ACT II 
In the second act Uule Bulltrtup naively reveals her affection for the Captain, but he 
tells her he can only be her friend. This angers her, and she prophesies a change in his 
fortunes. Slrjottph enters and complains to the dpfufn that /oiepAjne has disappointed him. 
Corcoran tells him his daughter is probably dazzled by the exalted station of her suitor, and 
suggests that he plead his cause on the ground that love levels all mnk. Sir Joseph accepts 
his suggestion, but only succeeds in strengthening his rival's cause, as Josephine becomes 
even more firmly resolved to wed Ralph. Dick Dcadeye now reveals the planned elopement, 
and the Caplain stops the couple as they are stealing away, demanding where they are 

Soing. Ralph confesses his love, which so angers Corcoran that he swears. Sirjoieph over. 
ears him and orders him to his cabin, hut on being told the cause of the excitement, 
orders Ralph also to be confined. Little Buttercup, interrupting, reveals her secret and tells 
how the Captain and Ralph yictc accidentally exchanged when both were infants. Where- 
upon Sirjaaeph, revealing the crowning absurdity of Gilbert's plot, sends for the seaman, gives 
him command of the ship and nobly consents to his marriage with Joiephint. The Caplain, 
who now automatically becomes a common sailor, marries the happy Little BuHercap. 

The Victor's fine singing organization has given two splendid medleys from this 
melodious nautical opera, and these two attractive records contain, in condensed form, 
thirteen of the most popular numbers from the production. 

Gems from " H. M. 5. Pinafore," Part I 

opening Chorus, "We Sail the Ocean Blue" — Air. f^lph and Chorus, 
"A Maiden Fair to See "—Song. "Captain, 1 Am the Monarch of the Sea"— 
"I'm Called Little Buttercup "—" CapMin of the Pinafore "—Finale. Act 1. 
"His Foot Should Stamp." 
By the Victor Lifht Opera Company 3IT82 12-inch, *I.OO 

Gema from '*H. M, S, Pinafore," Part 11 

"The Gallant Caplain of the Pinafore"— "When 1 Was a Ud"— "The 
Merry Maiden and the Tar '—'• Carefully on Tip-toe Stealing"-" Baby 
Farming '— " Farewell, My Own "— " For He is an EnglUhman." 
By the Victor Lifht Opera Company 31635 12-ineh. *1J>0 




THE PIRATES OF PENZANCE 

OR 

THE SLAVE OF DUTY 

COMIC OPERA IN TWO ACTS 

Test hy Sir W. 5. GQbert ; music bjr Sir Arthur Sullivan. TKe fir«t performance on 
any atase took place in New Yark, December 31, IS79, under the immediate aupervinon o( 
Mr. Sullivan and Mr. Gilbert. Produced at the Op^ra Comique, London. April 3. 1860. 
Recendy revived by Meaara. Shubert and W. A. Brady. 

Chlrictera 

Major-General Stanley BaritoDe 

Pirate King Ba» 

Samuel, his lieutenant , .Tenor 

Frederic the pirate apprentice Tenor 

Sergeant of Fouce Ban 

Mabel] 

Kate f C'enera] Stanley*a daughters Sopranoi 

Isabel) 

Ruth a pirate maid-of-all-work Contralto 

Pirate*. Police, etc 

Time and Piact : The jcene It laid on ihe atait of Cormtall ; timt, the praent. 



VICTOR BOOK OF THE OPERA— THE PIRATES OF PENZANCE 




The Piratea, aa it i* familiariy calied, is 
one of tKe very few operai of note to have 
iwfirrt production in AmericB, Thi«unu«u«l 
atep wai taken to protect the righta of the 
compoaer* and publiihera in American rep- 

The £rst act wai written and the entire 
opera scored in this country, and the work 
was not published until after Messrs. Gilbert 
and Sullivan bad returned to England, 

Gilbert's delightfully whimsical story 
tells of Frederic, apprenticed when a child to 
the Rra/ea of Penzance, who were very gentle 
with orphans for the reason that they them- 
selves were orphans! 

ACT I 
The Pliatet are celebrating the twenty- 
first birthday of Fndtrtc, who, tiring of a 
piratical career, is about to leave them to 
seek another occupation. Ralh, a " female 
pirate," begs him to marry her. and as she 
is the only ^voman he Has known, he 
consents, after she has assured him that 
she is "a fine figure of a woman." 

Shortly afterward Fredtrie meets Ctntial 
Slanley'a daughters, who have come to this rocky shore on an outing, falling in love with 
Maitl, the youngest. The Piralet capture M^d'i sisters and propose to marry them 
(the ladies meanwhile doing very little strug^ing with the handsome piratesl), but when 
their father arrives and tells them he also is an orphan, they relent and release the girls. 

ACT II 

In the second act the Gentiol, with a highly exaggerated sense of honor, is lamenting 
because he has deceived the Pirates by telling them he is an orphan. Frederic, who is about 
to lead an expedition (composed of brave policemeni) to exterminate the Piralet, comes to 
bid MiAd good'bye. 

The Pirate King and Ruth arrive and show FredtHe the apprentice papers which bound 
him to the Piralet until his twenty-first birthday, and call attention to their discovery of the 
fact that as he was bom in leap year on the 29th of February, he has had hut five birth- 
days, and consequently is still a member of the band until sixteen more leap years have 
rolled around! A strong sense of duty influences him to consent to return to the Ptnlet 
and serve out his unexpired term of something like sixty years I He also considers it his 
duty, riow that he Is a pirate once more, to tell them of the General s falsehood, and they 

In an attempt to carry off the General the pirates are captured fay the policemen, but ask 
for their liberty on the ground that they are leally English noblemen "gone wrong." On 
promising to give up their piratical career they ere pardoned, and this releases Fndtttt, 
who is now free to many Motel. 

The Victor offers here, in condensed form, six of the best numbers from the opera. 

Gema from Piratea of Penzance 

Chorusof Pirates— Solo. "Poor Wand'ring One"— Solo, "U There Not One 
Maiden Breast" — Solo, and Chorus, "A Policeman's Lot" — Chorust "With 
Cadike Tread "—Finale. 



By the Victor Li^ht Opera Company 3i808 12-inch, *1.00 



IL PROFETA 



(Prcneli) 

LE PROPHfiTE 

{Uh Pn-fih'f) 



(EofUih) 

THE PROPHET 



OPERA IN FIVE ACTS 
Text by Scribe. Muuc hy Giacomo Meyerbeer. Firai presented in Paris, April 16, 
1849. First Und™ production July 24. Ift49. First New York production November 25, 
1654. Revived at the Manhattan Opera in 1909 with d'Alvatez. Lucas and Walter-Villa. 

Characters 
k>IN OF LEYDEN. [LsZ-dm) the Prophet, chosen leader of the Aitabaptists . . Tenor 

BERTHA, his sweetheHrt Soptano 

F[D£S, (Fm -iai/z) mother of John of Leyden Mezxo-Sc^raito 

Count OBERTHAU ruler oI tho domain about Dordrecht Ban 

ZACHARIAH. I jBaas 

Jonas, Jthree Anabaptist preachers {Tenor 

MATHISEN, J iBasa 

Nobles, Citizens. Peasants, Soldiers. Prisoners. 

Scene and Period : Midland and Germans; '" 1543, at the Ume o/lht Anabaptiil uprlalng. 

Meyerbeer's great work is certainly entitled to 
be called a grand opera, for it is grand to the utmost 
in theme, character and scenes ; and with its brilliant 
and impressive music, at the time of its production 
sixty years HB" was a model of its kind, as opiera-Boers 
demanded melodramatic action, tuneful music and 
c^portunity for ballet; and all these requirements 
are fully met with in Le Prophite. 

The plot is based on the Anabaptist fanaticism 
of the sixteenth century, which agitated a large part 
of Germany and Holland, sod the leader of which 
was one Bockelson, commonly called John of Leyden. 

ACT I 
SCENE— ^ Suiurb of Dordnchl, Holland 
The story furnished by the hbrettists describes 
John as the son of the widow Fldit, an innkeeper of 
Leyden. At the opening of the opera he is about 
to wed Bertha, an orphan. She, being a vassal of 
the Count Oierlhal, n obliged to ask his permission 
before marrying, and goes with Fldit, Jehn'i mother. 
The Count, struck wiUi the }roung girl's beauty, covets her 
and orders Ftdit and Bertha Into the castle. 

ACT II 

SCENE— T^fte Inn of John In the Saturbt of Leaden 
Three Anabaptists enter and being struck with the resemblance of John to the portrait 
of the guardian saint, David, at Munster, they try to induce him to become their leader. He 
refuses, but tells them of a strange dream he has had. 




Joi ^ ^ ^ ^^ 

The Anabaptists declare that Heavi 
et be a ruler; hut John's thoughts turn 
e tells them that another and swi 



nT'-t 



life calU to him. 



VICTOR BOOK OF THE OPERA— MEYERBEER'S PROPHET 

John: Less than this thatch'd roof 

Oh, there's a sweeter empire, far, My hopes would bless. 

Which long has been my guiding star; Sweet home of calm felicity, 

Ohf thou m^ joy. my greatest gain. Where I would gladly live and die. 

If in thy faithful heart I reign! Where Bertha will forever prove 

For me, the proudest kingdom. Alike my bosom's queen and love! 

Bertha, who has escaped from the castle, now runs in, asking John to save her. She is 
concealed by him as the Count's soldiers enter and threaten to kill Fidis unless John delivers 
lip the maiden. To save his mother's life he is forced to yield, and sees his bride carried 
oiF to become the Count's mistress. 

Fidis, in her gratitude, sings this most dramatic and intense of Meyerbeer's airs, which 
has attained a world-wide popularity. 

Ah, mon fils I (Ah, My Son !) 

By Louise Homer, Contralto (In French) 88284 12-inch, $9.00 

By Ernestine Schumann-Heink, Contralto (In French) 88187 12-inch, 3.00 

FiDis: 

Ah, my son ! Blessed be thou I 

Thy loving mother to thee was dearer 

Than was Bertha, who claim'd thy heart! 

Ah, my son! For thou, alas. 

Thou dost ^ive for thy mother more than life, 

For thou giv'st all the joy of thy soul! 

Ah, my son! now to heav'n my pray'r ascends 

for thee ; From Operstlo Anthologr. by permlMloa of 

My son, blessed be forever more! o. Scbirmer. ( Copy 't 1899.) 

The part of Fidia, is perhaps most interesting in the opera, and this Ah, mon fih, is a 
dramatic aria full of real passion. 

John, left by his mother to bitter thoughts, hears the Anabaptists in the distance, and 
resolves to join them as a mecms of vengeance on the Count. The three conspirators enter 
and are addressed by John : 

John: John: 

When in my dreams I thought of supreme And shall I be able to destroy Oberthal? 

power, Anabaptists: 

Did you not say follow us. In an instant. 

And you shall reign? John: 

First Anabaptist* What must I do for this? 

And again we offer thee ^ Speak, and 1 will quickly follow you. 

A crown to be a king. ^>«st Anabaptist: , - , 

J Groaning beneath the yoke of tyranny, 

j^^"^' T ^, J _, . , The sons of our land await with ardor 

Can I then destroy my enemies? xh^ coming of the one to set them free. 

Anabaptists: In the name of the Prophet, who is promised 

At thy word thejr shall be them 

Destroyed in an instant. By Heaven, and who is found in thee. 

The compact is soon made and they depart, leaving some blood-stained garments to 
lead Fidis to believe John has been slain by the Count's assassins. 

ACT III 

SCENE — Camp of AnahaptlsU in the Westphalia Forest 

The city of Munster is about to be besieged by the rebels, and before proceeding to the 
charge, John, now the Prophet, and in command of the rebels, makes them luieel and pray for 
victory. They chant the Miserere, and John sings this noble Inno or hjrmn. 

Re del cielo e dei beati (Triumphal Hymn, *^ King of Heaven**) 

By Francesco Tamagno, Tenor (Piano ace.) (In Italian) 95005 10-inch, $5.00 

By Antonio Paoli, Tenor, and La Scala Chorus (Italian) 91080 10-inch, 2.00 

By LvdgiCol3LZZ9L,Tenor (Doul>k^/a€€d-See p. 35 1) (Italian) 16578 10-inch, .75 

John: Let's unfurl the sacred flag, 

Kin^ of Heaven and of the angels, lie whom we serve is Lord 

I will praise Thee, Of Heaven and earth. 

Like David, Thy servant. Let's sing and inarch away. 

A voice 1 heard — "Array thyself, The eye of Heaven will watch over us, 

And safely on I will guide thee." A supreme power will guide us! 

Praise to the Omnipotent! With songs of joy — with shouts of glory — 

Yes, victory is on our side. On — on to Munster! 

Three renditions of this inspiring number are presented. Tamagno, who was perhaps 
the most famous of all Prophets, sings the air gloriously, while other fine records are furnished 
by Colazza and Paoli, the latter being assisted by La Scala Chorus. 

349 



VICTOR BOOK OP THE OPERA— MEYERBEER'S PROPHET 

ACT IV 
SCENE \~-A Public Sqaart in Munita 
The insuTBenU have captured the city. Tlie Propfid !■ received with mixed feelinss, 
1 iropotlot. Fldii. reduced to beraaiy. meets Bertha, who ha* 



eacsped (rom the Count and come to Munaler 
Baiha, thinlcuiK the /VapAel ia lespoU' 
•ibie, iwear* to have vengeance. 
SCENE U—The Morula- Calhtdral 
Tliia magnificent cathedral acene i> 
one of Meyerbeer'a moM brilliant com. 
pontiona. It (ornu a atiiking contiaat 
to the reat of the opera, so gloomy with 
religioui and political fanaticism, and 
as a piece of glittering pageantry with 
goTgeoua decoration, pealing bells, 
•olemn chants, and the stately Corona' 
tion Maich, ha« seldom been equaled. 

Coronation March 

By Arthur Pryor's Band 

31503 12-inch, tl.OO 

The great symphonic march which 
occurs in this icene is by far the most 
striking instrumental number in Mesrer- 
beer's opera. It is brilliant and power- 
ful, with superb instrumentation, and 
always produces a marked effect on the 
listener. 

Aa John passes into the church. 
Fidit sees him, and in a transport of 
joy greets him as her son- He de- 
clares she is mad. Icnowing it is death 
to both if he acknowledges her. She 
finally realizes the situation, confesses 
that she is mistaken, and is led away 

Ve.. Ihi liEhl romes to my darkened eyes. 
Peaple, 1 Rave deceived you— 



seek John. Fidia tella her John a di 




lUil to the ireal Prophet. The power of ba voice 'hai lesloied her reasoni 

ACT V 
SCENE i—The CryfA of the Palace at Mamttr 
The first scene takca place in the prison vaults beneath the palace, where FiJU, feeling 
certain that John will contrive to see her. patiently awaits his coming. She at first denounces 
him a* an ungrateful son, then, prays that Heaven may lead him to repent. 

Prison Scene 

By Emeatioe Sehununn-Heink. Contralto (In French) 88099 12-inch. >3JH> 

Ptois ialoxe): (Her htdI/i jiibjidn.) 

"■ my cruel destiny! Whither have ' ' - .... 



Wh»i, 



Thy ij 



.. 1 a 



rdon, Ihee 



leilh, he denied li 
of Heaven fall: 



Now''f'^iould gii 



l would giv* my life, 
my sou! exalted, will < 



An officer enters and announces the arrival of the Prophet, 



VICTOR BOOK OF THE OPERA—MEYERBEER'S PROPHET 




FlJit then begina the aecond part of her graat 






FiDia {jeyMlyl: 



L. dclighlful bopel 



dark ab^ru which Ihrcalem to 



Let Ihy ligiit' pierce this insrate ■on. 
Conscience riyS,. hi) soul >of<en, 
Like brau in furnace fierce. 
That he mar ascend and reign in Heav'n! 
When John entera. FIdit denounce! the bloody 
deeds of the Anabsptiits and call* on her too to 
repent and renounce hia false robe*. 
Frets: 



hou. whose feiriiand''^s" crtin " 



1-sUin'd, ) 
John confeaaea hia . 



uid pleada for forgivenesi. 



b^tiata are plotting to deliv< 



uid pleada t( 

Enalh' kneeling and receiving her bleaaing, mat 

faithful officer entera and infornia /oAn that the Ana- 
. re plotting to deliver him (o the Emperot'a forces, which are maTching on the city. 
Berlha entera through a aecrel paaaage, revealed to her by her grandfalber. who was 
once keeper of the palace. She haa resolved to blow up the palace and the false Prophet; 
and is horrified to learn that fohn is the Pnphel. She denounces hbn for hia crimes, 
and declaring ahe has no longer reason to live, atabs herself. 

John, in despair, resolve* to die with hie enemies, and aending away his mother, plaita to 
have the palace set on fire, and goes to the banquet hall. 



S<XNE 11— rAe Creof Hall ef the Palact 



Obe«th.l: 








You »re m. 






Iht rami inlc JcknS trmi. 


John: 






fill molhlT.) 


Nay. yc are 


all my captives! 




John: 


(An exploti 


n takti plact. tkt 


wall, fall 


Ves, receive my pardon; I wi 


fiamc, ipr 


cd OH «.*rj «d,,) 




Job; (toCif 


e and Obeihnl): 




. F..tiA«Dj0HN: "^ 



will die with tl 



Justice has sealed our doom; 
am the instrument. 
We, all guilty, are all punisi 



DOUBLE-FACED LE PROPH^TE RECORDS 



512S 12>inch, 11.29 



rantisie from Prophet By Pryor' 

Baritr o/ SciHlIt Seleclton fiy Piyoi 

rdelcielo (Kinf of Heaven) By Luiffi ColBzza,Teaor\,..-a ,n • t. *s 

miHam Till Ballet Ma,lc—Part III By Pn/orU Bandr""^ lO-mcH. .I» 



(ItaliJUl) (Entfliih) 

I PURITANI THE PURITANS 

(Ee Poo-ree4ah -nee) 

OPERA IN THREE ACTS 

Book by Count Pepoli; music by Vincenzo Bellini. First presented at the Thidtre 
lialien, Paris, January 23, 1633, with a famous cast — Grisi, Rubini, Tamburini and Lablache. 
First London producton. King's Theatre, May 21, 1633, under the title oi Puriiani ediCaoalieri. 
First New York production, February 3, 1844. Revived in 1906 at the Manhattan Opera, 
Mrith Pinkert, Bonci and Arimondi. 

Characters 

LORD GAUTIER Walton, Puritan Bass 

Sir GEORGE. Puritan Bass 

LORD Arthur Talbot, Cavalier Bass 

Sir Richard Forth, Puritan Baritone 

Sir Bruno Robertson, Puritan Tenor 

Henrietta of France, widow of Charles I Soprano 

Elvira, daughter of Lord Walton Soprano 

Chorus of Puritans, Soldiers of Cromwell, Heralds and Men-at-Arms of Lord 
Arthur, Countrymen and Women, Damsels, Pages and Servants. 



Scene and Period : England in the neighborhood of Plymouth, in the period preceding 
<Ae impeachment and execution of Charles II by Parliament, 



Previous to Mr. Hammerstein*s revival in 1906, Puritani had not been given in America 
since the production of 1883, with Gerster as Eloira, This is not strange, as the opera on 
the whole is somewhat dreary, only the few numbers the Victor has collected being really 
worth hearing. 

The plot is rather a foolish one: the libretto being one of the poorest ever written for 
Bellini, but the music is delightful and fascinating. However, we will briefly sketch the 
story, as it will add to the enjo3rment of the lovely melodies of Bellini which the Victor has 
recorded. The only available translation is a very unsatisfactory one, but a few quotations 
are given. 

The action occurs in England in the time of the Stuarts, during the civil war between 
the Royalists and the Puritans. Lord Walton, the Puritan Governor-General, has a daughter 
Eloira, whom he wishes to marry to Richard Forth, a Puritan colonel, but the young girl loves 
an enemy. Lord Arthur, 

ACT I 

SCENE I — Exterior of a Fortress near Plymouth 

At the beginning of Act I, Forth, learning that Eloira loves Arthur, and that her father 
refuses to force her into an unwelcome marriage, is disconsolate and gives vent to his feel- 
ing in a famous air, best known as Ah per sempre ("To me forever lost**). The Battistini 
record, however, takes its title from the second part of the number. 

Bel segno beato di pace (Blissful Dream) 

By Mattia Battistini, Baritone (/n Italian) 88352 12-inch, $3.00 

Forth : 

Ah! to me forever lost, 

Flow'r of love, and hope the dearest! 

Life, to me thou now appearest, 

(lloomy and with tempests cross'd. 

Oh, happy and lovely dream of peace and joy! 

Oh, change thou my fate, or change my heart! 

Ah, what a keen torment, in the day of grief, 

Becomes the memory of a vanish'd love! 

Bruno, a Puritan officer, enters and offers Sir Richard command of the army. He 
refuses, sasring that his disappointment in love has unfitted him for so high an honor. 

352 



VICTOR BOOK OF THE OPERA— B ELLINTS PURITANI 



SCENE W— Elvira's Room in the Castle 

The next scene shows Elvira s apartment, where her uncle. Sir George, in a fine air, tells 
her that he has persuaded her father to consent to her marriage with Arihur. This is sung 
here by de Segurola and issued as a double-faced record, the opposite selection being the 
Infelice from Ernani. 

Sorgea la notte (The Night Was Growing Dark) 

By A. Perell6 de SeeuroU, Bass {In Italian) 55007 12-inch, $1.50 

The night was growing dark. 

And Heav'n and earth were silent, — 

Favorable the sad hour, 

Thy pray'rs ^ave courage to my soul, 

And to thy sire I went. 

Thus I began, — "My brother" — 

"Your angel-like Elvira 

Is for the valiant Arthur pining — 

Should she another wed. 

Oh, wretched onel she dies!" 

Said thy father 

"She is to Richard promised:" 

"Thy unhappy chila," repeated I, "will die." 

"Oh! say not so," he cried, 

"I must yield, let Elvira live, — 

Ah! may she be happy — 

Let her live in love! 

Eloira is overjoyed, and expresses her gratitude. Trumpets 
are now heard, and Elvircts surprise is complete when Lord Arthur 
arrives, attended by squires and pages, and bearing nuptial 
presents, prominent among which is a splendid white veil, soon 
to plav an important part in the events to come. 

Shortly eiter his arrival Arthur discovers that the widow of 
Charles / is in the castle under sentence of death, and his sense of 
duty toward the late Queen impels him to contrive her escape 
by concealing her in Elvira's veil, the guards thinking it is the 
bride. The escape is soon discovered and Elvira, supposing that 
her lover has deserted her on the eve of her bridal day, becomes 
insane. All denounce Arthur and swear to be revenged. 

ACT II 

SCENE — The Puritan Camp 
Act II shows the camp of the Puritan forces. Sir George announces that Parliament has 
condemned Arthur to death for aiding in the escape of the late Queen. Elvira enters, 
demented, and sings her famous air, much like the Mad Scene in Lucia. 

Qui la voce (In Sweetest Accents) 

By Marcella Sembrich, Soprano (In Italian) 88105 12-inch, $9. OO 

She recalls her first meeting with Arthur and repeats the vows he swore. 

Elvira: 

It was here in accents sweetest, 

He would call me — he calls no more! 

Here affection swore he to cherish. 

That dream so happy, alas! is o'er! 

We no more shall oe united, 

I'm in sorrow doomed to sigh. 

Oh, to hope once more restore me, 

Or in pity let me die I 

(Her mood changes.) 

Yes, — my father: thou call'st me to the 

temple? 
*Tis no dream, my Arthur, oh. my love! 
Ah, thou art smiling — thy tears thou driest. 
Fond Hymen guiding, I quickly follow! 
Then dancing. and singing. _ 

All nuptial feasts providing. 
(Dancing toward Richard, whom she takes fry 

the hand.) 
And surely you will dance with me — 
Come to the altar. 




OOTY'T HlflHRia 

ANCONA AS SIR RICHARD 



353 



VICTOR BOOK OF THE OPER A -BELLIN P S PURITANI 

Elvira's uncle, hoping that the sight of her lover will restore her reason, begs 5/r Richard 
to pardon the young man. Richard consents, provided he returns helpless and in peril, but 
if he comes bearing arms against his country he shall die. Sir George agrees to this, and in 
the splendid Sound the Trumpet they pledge themselves to fight together for their country. 

Suoni la tromba (Sound the Trumpet) 

By Pasquale Amato, Baritone, and Marcel Journet, Bass 

Un Italian) 89056 12-inch, $4.00 

This favorite duet, often sung in concert, has been aptly described as a '* stentorian ** 
number. It is undeniedly a most vigorous piece of declamation, and if the loyalty of Sir 
George and Sir Richard can be judged by the vigor of the usual rendition, they are loyal 
indeed I 

Sir Richard and Sir George: 

Sound, sound the trumpet loudly! 

Bravely we'll meet the focmen, 

'Tis sweet affronting death! 

Bold love of country aiding. 

The victor's wreath unfading. 

Will unto us be proudly 

Restor'd by Love and raith! 

Morn! rising on a nation, 

Whose only trust is freedom — 

Will bring us eternal fame! 

Earth's tyrants who dissemble, 

At the war-message tremble. 

Midst the w^orld's execration 

They sink in endless shame! 

The Puritans then renew their pledge as to Arthur, saying: 

Sir (Ikobce: 

All is now concluded. 

If Arthur is defenceless — 
Kiciixrd: 

He'll find support and succor. 
Sir George: 

If he in arms returns — 
Richard: 

He comes to shame and vengeance! 

ACT III 
SCENE — A Garden near Elvira 's House 

The rise of the curtain discloses Arthur, who is fleeing from the enemy, and has come 
to the castle in the hope of seeing Elvira once more before he leaves Elngland forever. She 
comes from the castle and at the sight of Arthur her reason suddenly returns. The lovers 
are reconciled after Arthur explains that it was in the service of his Queen that he had fled 
from the castle. They sing a lovely duet : 

Vieni fra queste braccia (Come to My Armsj 

By Maria Galvany, Soprano, and Francesco Marconi, Tenor 

{In Italian) 89046 12-inch, $4.00 

Forgetting their present danger, they think only of their love and that they are in each 
other's arms again. 

Arthur: 

Come, come to mv arms. 
Thou my life's sole delight I 
And thus press'd to my heart, 
We'll no more disunite! 
Thrill'd with anxious love and fear, 
On thee I call — for thee I .si)?h: — 
Come, and say the love is dear 
That soareth to boundless height! 

'The sound of a drum is heard, and Elvira again becomes delirious, which so alarms 
Arthur that he thinks not of escape and is captured by the Puritan forces. The sentence of 
death is read to him and he is being led to his execution, when a messenger arrives from 
Cromwell saying that the Stuarts were defeated and a pardon had becu granted to all captives. 
Elvira's reason returns, and the lovers are finally united. 

(Curtain) 
354 



(Italian) (Entfliak 

REGINA DI SABA QUEEN OF SHEBA 

{Rap-get^-nah dee Saf^Jtah) 

OPERA IN FOUR ACTS 

Text by Mossnthal, founded upon the Biblical mention of the visit of the Queen of 
Sheba to Solomon. Music by Goldmark. First production 1875» in Vienna. In New York 
1665, vrith Lehmann and Rscher. Revived in 1905, with Walker, Rappold, Knote and Van 
Rooy. 

Characters 

King Solomon Bantone 

High Priest Bass 

SULAMTTH, his daughter Soprano 

ASSAD, Solomon's favorite Tenor 

Queen of Sheba Mezzo-Soprano 

ASTAROTH, her slave (a Moor) Soprano 

Priests, Singers, Harpists, Bodyguards, Women of the Harem, People. 

Scene: Jerusalem and vidrUiy. 

Mosenthal's story tells of the struggle of A$sad, a courtier of Solomon, against fleshly 
temptation, and of his final victory which involves the sacrifice of the happiness of his 
betrothed, Sulamiih. 

For this text Goldmark furnished some of the most beautiful and sensuous music in the 
entire range of opera, and it is an interesting detail that after he had finished his opera and 
had submitted it to the Imperial Opera, Vienna, it was not accepted on the ground that it 
was too "exotic**! Later, through the influence of Princess Hohenlohe, it was presented 
and was a great success. 

ACT I 

The wisdom and fame of Solomon having reached even distant Arabia, the Queen of 
Sheba decides to visit him, and a favorite courtier, Assad, has been sent to meet her and es- 
cort her to the city. When Assad arrives with the Queen, his betrothed, Sulamiih, is aston- 
ished to find him pale and embarrassed, and trying to avoid her. Assad afterward confesses 
to Solomon that he had met a beautiful woman at Lebanon and had fallen in love ^th her. 
When the Queen of Shd>a arrives and removes her veil, Assad is astounded to recognize in her 
the mysterious woman who had captured his senses. Involuntarily he rushes toif^ard her, 
but she coldly repulses him and passes on if^ith the King. 

ACT II 

In Act II the Queen discovers that she loves Assad, and seeing him in the garden, bids 
her maid attract his attention with a weird Oriental song. Assad starts when he hears the 
mysterious air, as it seems to bring back memories of the night at Lebanon. He sings his 
beautiful air. Magic Tones. 

Magiche note (Magic Tones !) 

By Enrico Caruso. Tenor (In Italian) 87041 lO-inch, $2.00 

A lovely melody, sung at first in mec2o-iN>ce, develops gradually until the intense and 
passionate climax is reached. 

The Queen and Assad soon meet and confess their love for each other, but are inter- 
rupted by the arrival of the night guard. 

ACT III 

In the next scene the Court assembles for the wedding of Sulamiih and Assad, but Assad 
insults his bride and declares his love for the Queen. He is banished from Jerusalem and 
finally dies in the arms of Sulamiih, who is crossing the desert on her way to a convent. 

355 



1 






^MBEOy 



LA RETNEPE SABA QUEEN OF SHEBA 

lUh Ran Jth- Sahiah') 

OPERA IN FOUR ACTS 

Text by Jules Barbier and Michel Cuni. Mu*ic by Gounod, Firtt performed al the 
Opert, Parii. February 28, 1862. An English version called /«ne, by Famte, was given 
in London at the Concert Palace, August 12, 1865, FirM American production December 
2. 1865. 

Characters in the Opera 

King Solomon Baas 

Baucis, Queen of SKeba Smrano 

ADOMRAM, a sculptor Tenor 

BENONI, his assistant Tenor 

PHANOR, I [Baritone 

AMRU. workmen \ Tenor 

METHUSALl,! I Baa* 

SaRAHIU maid to the Queen Contralto 

SADOC Soprano 

The action lake* place In Jenitalem, 



La Rdnt de Saba is one of tbc (oui 
(1859) and /{•Hn«(lS67J. None of thes 
much beautiful music. 

ACT 1 
SCENE I— The Sladio o/Adoniram 
The curtain rises, discloains Adonlrtan at work on an important group of stBtuary. 
Baionl enter* and inform* hiro that the King desires his preaence, a> the Qunn ofShia is 



VICTOR BOOK OF THE OPERA-GOUNOD'S QUEEN OF SHEBA 

expected to arrive at any moment. As Adoniram prepares to leave the studio his workmen 
demand higher wages, but he refuses them and they go out muttering threats. 

SCENE 11 — Square in front of the Temple 

The Queen arrives and is welcomed by Kii%g Solomon and the people. Adoniram is 
presented to her as one of Palestine's great artists, and she seems greatly impressed by the 
handsome young sculptor. 

ACT II 
SCENE — Moulding Room of Adoniram 's Studio 

King S<^omon and the Queen have promised to come and see the final casting of 
Adoniram 's masterpiece, and he is preparing for this event w^hen Benoni enters hurriedly and 
reveals the plot of the workmen, who have stopped the channels so that the melted bronze 
cannot flow. His information comes too late, and the molten mass overflows, apparently 
ruining the statue. 

ACT III 

SCENE — Open place on the Feiche 

Adoniram meets the Queen of Sheba here, and she confesses her love for him. He is at 
first inclined to repel her advances, but soon falls undsr the spell of her ^scinations and 
clasps her in his arms. He tells her that he also is of her race, the Nimrod. The biithful 
Benoni hurriedly enters in search of Adoniram, telling him that in spite of the plot of the 
workmen the moulding of his statue has been successful. 

ACT IV 

SCEINE — The Great Hall of Solomon's Palace 

Adoniram is received by Solomon and the Court and proclaimed the greatest sculptor of 
the time. All leave the hall except Solomon and the Queen, who gives a sign to her maid, 
Sarahil, to bring a draught which she presents to Solomon. He soon falls asleep at the feet 
of the Queen, who takes the ring from his finger and leaves the Palace. 

ACT V 
SCENE— rAe Valley of Hebron 

Adoniram and the Queen have planned to fly together, and are already approaching 
the meeting place, when three of Adoniram'a discontented workmen, bent on revenge, set 
upon and stab him. The Queen hurries to his side and falls on his body, cursing his 
murderers and Solomon. "*" 

The Victor has selected four numbers from Queen of Sheba which are worthy of preser- 
vation — the first being the splendid recitative and air. Lend Me Your Aid, sung by Evan 
Williams; the second the great air of the Queen, given by Mme. Gerville-Reache ; two 
records of the Sous les pieds by Journet and Witherspoon ; and a Sousa*s Band record of the 
Queen of Sheba March. This famous marche et cortege is a grand number, and played with 
the full strength of the band. 

Queen of Sheba Records 
Lend Me Your Aid 

By Evan Williams, Tenor (In English) 64096 10- inch, $1.00 

Plus grand dans son obscurite (More Regal Than a King) 

By Jeanne Gerville-Reache, Contralto (in French) 88205 12-inch. $3.00 

Sous les pieds d'une femme (She Alone Charmeth My Sadness) 

By Marcel Journet, Bass (In French) 74269 12-inch« $1.50 

By Herbert Witherspoon, Bass (In French) 74277 12-inch, 1.50 

Queen of Sheba March 

By Sou8a*8 Band 31453 12-inch, $1.00 

367 



IL RE PASTORE 



(Eodutil 

THE SHEPHERD KING 



DRAMATIC CANTATA IN TWO ACTS 




Text by MelBatauo: muiic by Mozart. Finrt 
production Salzburg. Apnl 23. 1 775. The libretto 
i* the one lued for Bono's opera of the ume 
name. B>ven in Vienna in 1751. 



ALESSANtMtO. King of Macedonia. 

AMINTA. ihepherd deacendant of the King* of 

Sidon and lover of EUisa. 
EUSA. ihepberdera. 
TaMIRI. fugitive princeM. daughter of the tyrant 

Stratone. 
ACENOR. noble of Sidon. lover of Tamiri and 

friend of Aleaaandro. 

The opera of "11 R* Paatoro " w«a written by 
Moiart in honor of the Archduke Maximilian, 
the compoaer having been ordered to produce the 
work for the enteitainment of the Archduke 
during hit visit to Salzburg in 1775. 

The atory tells of the capture of Sidon. the 
execution of the usurper Slraloitt by Aleuandn, 
uEi.BA King of Macedonia, who places on the throne the 

rightful king, AaUnta, who has been living as a 

shepherd. Alenandro plans that the new king shall 

marry Tamlrl, daughter of Siratene. but Aminia is 

already in love with Ellta. a shepherdess, and rather 

than give her up he refuses the crown. The King. 

pleaaed with Aminla'a fidelity, gives his consent to 

the marriage with Ellia and establishes the couple 

upon the throne, hie also gives Tamiri to her lover 

Agtnor, and promises them the next kingdom he 

■Ull <»qu.,. 

The aria L'arnero loro coalardt, which Melba has 
auns for the Victor, was a great favorite with Jenny 
Lind. The beauty of Mozart's music is enhanced by 
the pure vocalization of Melba. and no fitter vehicle of 
ezprescion for the composer's beautiful melody than the 
perfect vocal organ of this great singer could be imag- 
ined. The double cadenza at the conclusion for voice 
and instrument is an intricate and striking one. and 
provides a strong and effective climax to Melba's per- 
formance of this line air. Kubelik's playing of the 
violin part ia a masterly performance, 

L'arnero saro costante (My Love is 
Ever True) 

By Nellie Melba. Soprano, and Jan 
Kubelik. Violiniit (/n FrencA) 

B9074 12-inch. I4.00 





DAS RHEINGOLD THE RHINEGOLD 

MUSIC DRAMA IN FOUR SCENES 

Words anil muilc by Rlchara Wagner. Pint produced at Munich, Seplember 22, 1869. 
Pint American production at New YorL, January 4. 1686. 

CharacMri 
WOTAN. (VoJalm) \ (Baritone 

FROH f"^ Tenor 

Loci. (Lou'-to) I iTenor 

FASOLT. if. , fBa» 

FAFNER, fljianu -jg^^ 

ALBERiCH. tAhfitr-l.h)\u.. , ,f~ , /Baritooe 

MIME. (M«'.™,) ^Nibalung. (Gnome.) |j^^, 

FrICKA, (Fnc'Jcalo I (Soprano 

FREIA. (Fm.*.*) [CoddcneB {Soprano 

ERDA (EAr'-AAl I (Contralto 

WOGUNDE, [Soprano 

WELLGUNDE, [NymphB of the Rhine ] Soprano 

FLOSSHJLDE. I I Contralto 

Rhelngold it not a "lociety" opera. Played in complete darkneu and with no inter- 
minionB during the two houra required for ita presentation, it is a work only for real muijc- 
lovers who understand something of the atory and appreciate Wagner's wonderful mualc. 

This lint part of the lijng ia an introduction to the Trilogy proper, and a full under- 
standing of its incidents ia necessary to properly appreciate the other Ring operas. 
SCENE 1— rfte Bottom of the Rhine 
The stage is in semi-darknesa, repteeenting the murky deptha of the Rhine, and the 
light glimmering on the surface of the water above shows but faintly the three Rhine 
maidens guarding the Rhlnegold, 

They sing their quaint songs as they Boat about the rock which conceal* the treaaure. 



VICTOR BOOK OF THE OPERA — THE RHINEGOLD 

Albtrich, prince of the Nibelungt, 
a strange race of dwarf ■ who dwell 
deep in the earth, obaerves the 
beauty of the maidens and Iriea to 
make love to them. They laugh 
at him and evade with ease hi* 
clumty endeavors to catch them. 
Suddenly, as thesun risei.the gleam 
of the RhintgM ia seen. Alhtrtch. 
dazzled by (he splendor of this 
glow, asks what it is, and the maid- 
ens foolishly inform him that who 



; this 



and 



of all the world. One condition, 
however, is that the possessor can- 
not wield this power unless he re- 
nounces forever the joys of love, 

Alkerich, having failed in his 
amorous attempts toward* AxeNaU 
oil, now conceives an ambition for 
power. He cries, " Then love 1 
renounce forever." and swimming 
to the rock, he tears the gold from 
its place and flees, while fiom the 



arknes 



hich . 



comes the dwarf's mocking laughter 
and the wailing of the maidens who 
are moaning for their lost treasure. 

SCENE 11-^ Meunlain T<^, Sh«l>- 
Ing tht Cattle of fValhalU 
During this darkness the scene 
changes and as the stage becomes 
lighter we see Wathalla. the abode 
of the goda, a wonderful castle 
built for IVolan by the giants, 
fVolan and his wife are lying asleep 
on a dowery bank, but soon wake 
and see the castle which has been 
built while they slept. Wotan is overjoyed 





M the glorious sight, but the more practical 
Fricka reminds him of the pHce which he had 
agreed to pay the giants for this godly dwell- 
ing; this being the surrender of Frda. goddess 
of youth and beauty. Ffofon tells her that he 
never intended to keep his agreement, the god 
Loge having promised to show him a way to 
evade payment. 

Fida now hastily enters, closely pursued 
fay the giants Ftaalt and Fafntt, who ciUI upon 
Wotan to deliver the goddess to (hem as agreed. 
Woian repudiates his promise, aaying tha( it 
was made only in jest. 
W0T*N : 

How sly to takr for truth 



Frah and Dormtr, Frickq'a brothers, enter, 
also Loge, and a long argument ensues. Wolan 
iinally realizing that he must give up Frtia to 



VICTOR BOOK OF THE OPERA — THE RHINCGOLD 




the suu<t>- l-ogt, however, tell* them of the 
Rhinegold, uying that if this tresaure could be 
■tolen (ram Alberich by Wolan. it might be 
accepted by the giants in place of Frda. 
Woian refuKB to entertain thia plan and the 
gianta seize Fttia and carry her off, declanng 
that if the RhinegaiJ is not in their hands by 
night the original bargain must stand, and Frtia 
be lost to the gods forever. 

Left alone, the gods realize the serious 

that, deprived of their youth goddess, they 
are suddenly aging. Wolan thereupon decides 
to secure the Nihtlunga' gold, and goes with 
Logt in search of Alherlch, A vapor arises 
from the earth, concealing the stage, and when 
it disappears the scene has changed. 

SCENE in— Attcrich; Com 

Albtricb, since he has acquired the Rldm- 
gold, has become mote arrogant and cruel than 
ever, and compels Mime and the other Nlbe- 
lungi to continually toil and slave to bring him 
! gold. At the beginning of the scene 



sbera 



g Mime for I 



r hisU 



but envy could have brought them hen 
when the crafty Loge makes him a sign 
power. Albttich is to enraged that h( 
change himself into any shape required to provi 
the magic of the Tainbdm, and immediately be. 



__ _..„ _. Tatnhelm, or magic cap, fashioi 

from the Rhinegold, and which gives the wearer 
the power to become invisible. Wolan and 
Loge now enter on this scene and are rudely 
greeted by Alherlch, who demands their busi- 
ness, and holding out the Ring bids them 
tremble at his power. They at first craftily 
Batter him, but he is surly and says that naught 
Wolan is a.agry and is about to voice his wrath 
o be quiet and begiiu to taunt Atbtrfdi, doubting his 



> Alherich laughs and resumes his 
human shape again. The god then cunningly asks 
him to change to a toad, which shape he has no 
sooner assumed than Logt puts his foot on (he 
toad and seizes the Tamhetm, thus robbing Al- 
herich of his power. His natural form returns and 
they bind him and start for the upper earth. The 
scene changes again to the mountain summit. 

SCENE IV— Same at Scene H 



Wolan and Uge • 



t, dragging the helpieas 



„King I 

rfch, who is beside himself with i „ 

demand that he give them his hoarded store (^ 
gold as the price of his freedom. He reluctantly 
obe3ra and summons the Nthelunga, who instantly 
swarm up from below carrying the hoard. He 
then asks to be set ftee, but Wolan demands also 
the Ring. Alherich is horrified, but is finally 
compelled to add it to the pile of gold. He 
then sings his bitter and ironical air. Bin Ich nan 
ftd? 

X\ 




VICTOR BOOK OF THE OPERA^THE RHINEGOLD 

Bin ich nun frei ? 
(Am I Now Free?) 

By Otto Goritz. 

Bariioae 
(In Ctrman) 
64103 lO-inch. *1.00 




Weiche, W^otan. weiche ! (W^aver, W^otan) 

By Erneitine Schumann- He ink. Contrilto ftfofan't reapon 

Mr. Withenpoon) (/n Qtrnian) 8f 

She warns him Bolemnly ihnt ihe Ring ii cutacd and charges hin 



VICTOR BOOK OF THE OPER A— T HE RHINEGOLD 



Sit Ihc Ring accursed: 

Ruin and dismalFst dow: 

Wot™ 
_ Who liiwaks such menaci 

''whatever nas. was I; wl 
What aies i^ball work— a 
The endless world's All-' 

Thrrc. Ihc ciaughlrrs bor 



il day dawns for the .Esir: 






Mme. Schunuuin-Heink ■ _ , 

Wotan at laat yielde and throwa ihe Ring on the heap of Kold. _ _. . 
the curse, immeciiBtely l>egin to quarrel aboul ita potseasion. and Faiolt ia killed by Fafnti . 
after which the murderer coolly proceeda to collect the gold and then depart*. 

Denntr, the god of thunder, now calU up a Btarm and cauaea a magic rainbow bridge 
to form, making a paaaage to the castle. 

Abendlich strahlt der Sonne Auge (The Evening Light) 
(Wotan's Invocation) 

By Marcel Journ«t. Sua (/n German) T426B 12-iDcb. *1.50 

WoUm then ling* the famoua invocation to the Caatle of Valhalla, which gleams with 
great brilliance, illumined by the setting sun. The god. abaorbed in contemplation of the 
csistle, sings: 

^^Sc^how at eve the c/e of .unlixhl f'2on""wa? lQ"itrw"il)fe« "' "'*'"' '"' 

With glorious touch gilds turret and tow'r! The night is nigh; from all annoy 

In the morning slamour. manful and glad. Shelter il shows us now. 

it bidi^d maslctless niildly heck'ning to me. So-hailcd be Ihe fort: sorrow and fear il heals! 

Aa the gods proceed acroaa the bridge to Wathalla the voices of the Rhine maidens can 
be heard from below, still bewailing the Ion of their gold. 
Rhise-nymmis (from beloni: In ibe wave thy pure magic wake! 

Rhinegold! Rarest gold! Wbal is of worth dwells but in the waters! 

(Ai the godi aloiely croa ihe bridge to the aallt, iht tiatatn fallt. ) 

DOUBLE-FACED RHINEGOLD RECORD 
(Selection from the Opera By Conway's Bandl _.-, . ,, . . ., ~, 

t Colltrdammerung Fanta^a {Wagner) By Arthur Pry or', Sindr 12-inctl. I1,Z3 




mMm 



RIGOLETTO 

OPERA IN THREE ACTS 



TeKt by Piave, adapted from Victor Hugo's drama Lt Rot I'Amuie. Muaic by Giuaeppe 
Verdi. PirM produced in Venice, March II, 1651. Rr«t London production at Covent 
Guden, May 14. 1853; at the Uatitm, Parii, January 19, IS57. Fint New York production 
November 2. 1657. 

Character* 

RICOLETTO, a hunchback, ieater to the Duke Baritone 

DUKE OF Mantua, a titled profligate Tenot 

GILDA, U-^^ah) daughter of Kgoletto Soprano 

SPARAFUCILE. (Stahr^ti-Zo^hctr) m hired aswuain BaM 

MADDALENA. (Mad-dali-lav'-nah) hi* natei Contralto 

COUNT MONTEBONE (M™*f^^'-MB) Baritone 

Count ceprano Ba** 

Courtier*. Page*, Servant*. 
.Scene and Ptrlod : Manilla and vicinity ; altltenlh cenlaiy. 

The atory lella ol the gay and unprincipled Dulfe of Mantua, who ia u*i*ted in hi* 
crime* by hi* ie*ter, Rigoletio, a hunchback. The father of one of the Duke'a victim* i* 
mocked by Rlgoltlh and launchei upon him a father'* awful curae. which atun* and aobera 
the jeater, a* he, too, baa a daughter. Cilda, unknown to the court. 

On hia way home Rigolello meeta a profeaaiona) aaaaaain, Sparafucllt, who olfera, for a 
price, to kill any enemy he may have. Rlgoitllo aay* he may need him later. The Dul^e, 
in the gui»e of a young atudent. ha* already met Gilda, not knowing who ahe i*. and the 
young girl ha* fallen in !ove wHth him. When R:»oltllo ha» left the hou»e the Duke'i 
courtiera abduct Gllda and take her to the Palace. The (ather'a rage ii terrible to witneaa. 
and he goe* to the Palace, but too late to save his daughter. She pleads for the Dake'i life, 
but Rigoleilo iweai* to kill him, and arrangea with the aa*aa*in, Spara/ucilt, to accompliah 
the deed. The Duke i* lured to a lonely inn by SparafuciWt attractive sister, Maddalena, 
and is about to be murdered when Maddaltna, who has taken a fancy to him, begs for his 
hfe. SparafudU coTwenta provided a subatitule ahould happen along before midnight. Gllda, 



VICTOR BOOK OF THE OPERA — VERDI'S RIGOLETTO 




whom Rigolefio had brought hither (duKUued as a page) in order that ihe might witncM the 
Bckleneu of her lover, has been listening to the conversation, and now resolves to save the 
Dukt'i life at the cost of her own. She enters the hut, is stabbed by SparafuclU. who 
delivers the body to Rigoltita according to agreement. Rlgoltllo is about to cast the body 
into the river when he hears the Dal(c's voice in the distance. The wretched mati opens 
the sack, sees his dauehter and falls senseless on her body. 

ACT I 

SCENE 1— Bflrtnwm in iht Duh'i P-lacc 
As a f<te is in progress in the ducal residence, the Duke confides to one of his courtiers 
that he is about to make a new conquest. For some months he has seen a young and 
beautiful girl at church, but knows nothing of her except that she is visited often by a man 
who is supposed to be her lover. The DuJ^e then sings his hrsl air, Quejfo o qatUo. 

Questa o quella ('Mid the Fair Throng) ' 

By Enrico Caruio, Tenor [In Itailan) 87018 lO-ioch. *2.00 

By Florcacio Coastintino. Tenor {In llatian) 64069 lO.inch, l.OO 

This melodious number is perhaps the best of the Dakt't solos, though usually cast 
somewhat in the background by the popular La Jonna e motile. In it the Dalte announces 
himself as a man of pleasure, aela forth his cade of morals, and boasts of his conquests. 
Dl-ke; 
'Mid the fair throng Ihal sparkle around me, As a dove Hies, alarm'd. 10 seek shrllrr. 

Not one o'ei my Vart hold^ sway; Pursued by some vulture, 10 bear il aloft 



display. ' 
Caruso's interpretation of the Dalie is quiti 

have been accustomed. He does not picturu _ . _ .„ 

human guise, but as a light-hearted, careless and irresponsible devotee of pleasure,— so 
attractive that the infatuation of Gllda seems wholly natural. This air is always sung by the 
tenor with perfect ease and extreme brilliancy, and the record is a superb one. not aut- 
pBssed by any in his list. 



VICTOR BOOK OF THE OPERA — VERDI'S RIGOLETTO 



Constantino, who kai in&de a great lucccM as the ZXiJ^e in recent (easons. both at the 
Manhattan Opera and in Boston, sings this gay air with grace and abandon. 

After making another enemy in the person of the Counf Cepmno, by his marked atten- 
tion to the lBtter*s wife, the Dtiltt departs. Manillo enters and eagerly announces to the 
courtiers a rich discovery. Rigoltllo, the Dui^e'i jester, is in lovet The courtiers reftise to 
believe this, as HigoitUo is known as a confirmed woman-hater. Mamlto insists that the 
jester makes frequent visits to a young girl. T^e nobles, who all hate Rigotello for his cruel 
tongue, are eager to turn this knowledge into a means of revenge, and agree to meet Ceprano 



the ; 

The voice of the agei 
the Duk', is now heard o 
seek to slop him. and ent< 



CounI MonleroTK. whose daughter is one of the recent victims of 
itiide demanding admittance. He throws aside the guards who 
ring, denounces the ZJul^e for his crimes. 



Ch'io le parli (I Will Speak to Him) 

By Francesco Citfada. Baritone: Aristo- 
demo Sillich. Bass; La Seals Chorus 

llnllaUanj >68I»0 12.inch, tlJlS 

Rigaltlh ridicules and mocks the old man. who 
calls him a "vile buffoon," and then, in an awful 
rage, utters so terrible a curse upon him.^the 
curse of a father, —that ail are horrified. 

Rigotello is stunned and sobered by this terri- 
ble malediction, for he. loo, has a daughter, un- 
known to the court; and love for his child and 
respect for her dead mother are the sole redeem- 

Monltiont is removed by the guards, and the 
scene changes to the street in front of filgalello'a 

SCENE W—A SlmU; RtgoleUo'iCaage on ons ,ldt. 
oppoale ihe Palace of Cbuirl Ceprano 
The jester enters, brooding with superstitious 
fear over the curse which had been laid upon 
him. He is accosted by Spatofiicllt. a professional 
assassin, who offers to rid him of an enemy if he 
has one. Rigoietio looks at him thoughtfully and 
■ays that if he has need of his services he will 
inform him. Spatafucile departs and Rigolello 
delivers his famous monologue. 

Monologo— Pari siamo (We Are Equal) 

By Mario Sammarco, Baritone (/n Italian) 88320 12-inch, *3M> 

By Tina Ruffo. Baritone {In flattan) 92041 I2'inch. SJX) 

By Ernesto Badini. Baritone (In Italian) *45032 10-inch, l.OO 

He looks at the retreating form of the biavo and says; 




Yon , 






nuld. laugh n 



Slab men by daylight: 

SHc thinlii of MonWont^'i rurji.) 
le laid ■ father's ciir» on gic. . . 



Oh li 






* Dmhh.FactJBcccrJ—Fori 



If: riA «« DOUBLE-FACED RICOLETTO RECORDS, pn 



VICTOR BOOK OF THE OPERA— VERDI'S RIGOLETTO 



uk> him about her mother, whom she but dimly remem- 
bers. RlgoltUo avoids her question and sings a pathetic air, 
in which he begs her to refrain from questions- regarding 
their put life. The duet then follows: 




Deh non parlare a.\ misero (Recall Not 
the Past) 

By Mme. Matfrini. Soprano, and Titu Raffo. 
Baritone (In flallan) 89098 12-inch. *4.00 



lov'd IT 
oh! Ci 






rthTl'M'dSfni 



Suffice it Ifaal <hv father 
Some in the world thcrt 



In o 



Country, family, poHess you none? What joy to my heart it would hring! 

He embraces het tenderly, then, recalling the curse, solemnly enjoins her to keep 
within the house and never venture into the town. Gllda says she hss only been to 
Mass each Sunday, but does not tell him of the student with whom she had exchanged 
fond glances. RigoUlto summons the maid, Cloaanna, and questions her, beginning another 
lovely duet, full of pathos. 

Vefflia o donna (Safely Guard This Tender Blossom) 

By MarU Galvany and Tina RtifFo (In Italian) 91900 lO-inch. 13.00 

He warns the maid to always closely guard her mistress from any danger. 



May no Ihoughl of ill betide; Cuides me 

Rjgolello bids his daughter a tender farewell and take 

his departure. The Duk'. again dressed as a student, noi 

' ' usly purchased the silence of Glcoanna 



GllJa im Hiarmed. not thinking her innocent flittatii 

the church would lead to this, and bids him begone, but he 
reassures her, beginning a fine duet. 

E il sol deir anima (Love is the Sun) 

By Giuseppina Hutfuet and Fernando de Lucis 

(fnllallan) 920S6 12-inch. W-OO 
By Alice Nielsen and Floreneio Constantino 

(lit Ilallan) 74063 12-inch. 1.90 
He soothes her fears, telling her he loves her with a pure 
devotion. 



son by whii 



With it we hee. 



lighted. 



Impart, 

I Icom thee 




VICTOR BOOK OF THE O P ER A — V ERDl 'S RIGOLETTO 




■her telling her thai 



Qlda 
departed. 



I heard, and after a tender (: 
s Walter Malde. 

femains pemivelji gazins at the gale through which the pietended ttudeni has 
In rapturous soliloquy ihe sings: 



Caro nome (Dearest Name) 
By Luisa Tetrazsini. Soprano 
By Mircelli Sembrich. Soprano 
By Nellie Melba. Soprano 
By Graziella Pareto. Soprano 
By Edith Helena {DaMc-faccJ—Sec pan 
By Marie Michailo^vi, Soprano 
Then the lovely air, Caro Nome, begins. 



On Ilallan) eB2»& 12-inch, *3.00 

{In Italian) 8801 7 12-inch. 3,00 

(In llallan) 88078 12-inch. 3.00 

(In Italian) 76007 12-inch. 2.00 

(InEnglhh) 3S067 12-inch. 1.25 

(In Ruaian) 61141 10-inch, 1.00 



Namr ^Iove t! 
Thou to mc an- 
Ev'ry IhnilKht Ir 
Lift: for IhcF a[ 
Thine shall be ii 



II fly. 



VA"n 



Mx loi 

Carv'^d 



(CiWfl - -.,--- - - .- - 

balcony.') Ev'rv Ihoughc to thcc will fly. 

Oh, ilMTist namr: Thin.^ shall be my parWa^ sLsh, 

Oh name bclovrd: Oh Walter mine: 

Melba's rendition is worthy of so exquisite a number, and she has surpassed herself 
here. The ease with which she sings is wonderful, and her voice shows in an unusual de- 
gree that luscious smoothness, golden purity and perfect equality lor which it is noted. 

The character of Gllda is always represented by Mme. Sembrich with genuine simplicity, 
yet with truly impassioned feeling where occasion calls for it: as in this tuneful "Caro 
nome," when the young girl in soliloquy dwells with rapture on the name of her lover. 

Tetrnnini's delivery of this lovely air is marked by surpassing beauty of tone, the 
roulades, trills and staccatos in the concluding portion being poured out lavishly and with 
the utmost ease and fluency. Other adequate renditions, at lower prices, are also listed above. 
Night has now fallen and the courtiers, led by C^pr„no. enter, wearing masks. Rlgo- 
lillo returns and is much alarmed to see them in this neighborhood, but his fears 
are allayed when they announce that they have come to carry off Ctprano's wife, as 
370 



VICTOR BOOK OF THE OPERA — VERDI'S RIGOLETTO 



he it well aware that the Dah 
htM had deiigiu on (hat lady 
foe (ome time pasL He telU 
them Ceprano'a palace Is on 
the oppDaite tide and offers to 
help (hem. They iiuiat that 
he muBt be disguwed and 
contrive to s>ve him a mask 
which covers his eyes and 
ears, and lead him in a circle 
baclc to his own balcony, giv- 
ing him a ladder to hold. 
GiUa is seized, her mouth 
gagged with a handkerchief, 
and she is carried away. 

Rigoltllo, suddenly finding 
himaelf alone, becomes suspi- 
cious, tears oil his mask and 
finds himself at his own bal- 
cony. Frantic with fear he 
rushes in, finds his daughter 

gone, and falls in a swoon as '" 

the curtain descends. ACT II 

SCENE-.^ Hall In iht Duk"'* P-^o" 

Parmi veder le lagrime (Each Tear That Falls) 

By Enrico Caruso. Tenor (/n llaltan) B8429 I2-iiich. >3.00 

The Dolt'- itfter his tender parting with QAda, in the previous act, had again returned 
to the/e>(cr') house, only to find it deserted and the young girl gone. Not knowing that his 
courtiers had carried her off under the very nose of RigoltUo, he bewails the unhappy fete 
which has robbed him of his latest conquest. A* we hear him sing his pathetic lament, 
we forget his real nature and almost sympathize with the unhappy loverl 

This melodious number has been much neglected in American perfonnancea of (he 
opera, being usually omitted. 




I DUKI 



of ll 



Ll falls. 



juld 1 



, could ni 



Pming within lom* dreary walls, _. _ _ 

Fills me wUh grief tfaere'i no reUevini. Not e'en the aHEela' blessed abode 

.Vh! vainly didst thou cry to me, Could peace lo me reslore. 

"Help me, dear Walter, help!" If from Ibee spart 

The courtiers enter and tell the Dalte that they have captured Rigolello'a mistress. He 
expresses his appreciation of the adventure, not knowing they had abducted the young girl 
he had just left, and asks for particulars. They sing their chorus, Scotrendo unffe. 

Scorrendo unite remota via (On Mischief Bent) 

By New York Grand Opera Chorus {In llaltan) 64049 lO-inch. ll.OO 

which gives the details of the huge joke they have played on Rigoletio by making him assist 
in the capture of his own mistress. 

When%hades''o^f evming^ere falling fasi ' '""" 

By dark'nini shadows we were protected 

Unlit our game we spied at last: .., _ _ .._._ . ._ 

With timid footsteps she scarce ume nigh us. His eyes were bandau'd, tiF did obey. 
We were preparing our prey to seire We swiftly mourned to the room. 

When Rigolclto iusi then came by u«, .\nA tbt startled beauty hiire away! 

When the Dak^ leant* that Cilda is in an adjoining room he joyfully goes to her. saying 

that her fears will be soothed when she discovers he is the Walltr MalJt she loves. 

Then occurs one o( the most dramatic scenes in the opera, and the greatest opportunity 

for Rigoltllo. This acene has been recorded in iu entirety by Amato, one of the greatest of 

Rigolelht, assisted by Bada, SettI and the Metropolitan Chorus. 



;bt be a 



migbl I 



VICTOR BOOK OF THE OPERA — VERDPS RIGOLETTO 



Povero Rigoletto ! (Poor Rigoletto !) 

By Pasquale Amato, with Bada,Setti and Chorus 88340 12-inch, $3.00 

Rigoletto's voice is now heard outside, singing a careless air. He enters, affecting in- 
difference, but trying to find some clue to GilJa 's whereabouts. A page enters with a mes- 
sage for tiie Duke and the courtiers tell him their master cannot be disturbed. Rigcleito 
listens, his fears becoming confirmed, and he exclaims : 



RiGOLETTO: 

Ah, she must be here then! 

In yonder chamber! 
Courtiers: If a sweetheart you've lost, 

Go somewhere else to seek her! 
RiGOLETTO {.with terrible emphasis) : 

Give me my daughter! 
CouRTiEBS (t« astonishment): 



RiGOLETTO : 

Yes, my daughter! 
The maid whom you last night 
From my roof carried hither. 
Ah, she is there. I know it! 
(Rushes totvard the door, but the courtiers bar 
his passage and a terrible struggle occurs.) 
She is tluM-c: ^tand back. I tell ve! 



What, his daughter! 
His rage, now terrible to witness, is expressed in the second part, Cortigiani, vil razza. 



Cortigiani, vil razza dannata (Vile Race of Courtiers) 

By Pasquale Amato, Baritone {In Italian) 88341 12-inch, $3.00 

By Titta Ruffo, Baritone, and La Scala Chorus (Italian ) 92066 
By Emilio Sagi-Barba, Baritone (In Sf>anish) 74161 

By Renzo Nlinolfi, Baritone * 165 73 



12.inch, 3.00 
12-inch, 1.50 
10- inch, .75 



He at first denounces them as abductors and assassins, then breaking down, asks for pity. 



RiGOLETTO : 

Race of courtiers, vile rabble detested. 

Have ye sold her, whose peace ye molested? 

Where is she? do not rouse me to madness — 

Though unarm'd, of my vengeance beware, 

For the blood of some traitor I'll pour! 

{Again making for the door.) 

Let me enter, ye assassins, stand back! 

That door I must enter! 

(He struggles again with the courtiers but 

is repulsed and gives up in despair,) 
Ah, I see it — all against me — ^have pity! 



Ah, I weep before ye, Marullo, so kindless? 
Others' grief never yet saw thee mindless, 
Tell, oh tell where -my child they have hidden, 
Is't there? — say in pity — thou'rt silent! alas! 
{In tears.) 

Oh, my lords, will ye have no compassion 
On a father's despairing intercession? 
(live me back rny belov d only daughter, 
Have pity, oh give me back my child. 
In pity, oh hear me implore! 



This atfecting scene is ended by Gilda^ who now enters, in tears, and embraces her father. 

GiLDA {hiding her face): 
Dishonor, oh my father! 

RiGOLETTO: Horror! what say'st thou? 

Gilda: 

Father, oh hide me from ev'ry eye but thine! 

RiGOLETTO {imperiously, to the courtiers) : 
Hence, I command, and leave us! 
If the worthless duke ye serve dares approach, 
I forbid him to enter! 
Say that, I charge ye! 

The courtiers, somewhat ashamed, obey, and Gilda begins her pitiful confession. 

Tutte le feste al tetnpio (On Every Festal Morning) 

By Marcella Sembrich and G. Mario Sammarco 89042 12-inch, $4.00 



RiGOLETTO {overjoyed) : 
Gilda, my daughter! 
My lost one — my treasure! 
Angel, I've found thee! 
Come tell me. 'twas but jesting? 
(To the courtiers.) 
I who was weeping rejoice now. 
{To Gilda.) 
But why art thou weeping? 



By Olimpia Boronat, Soprano 

By Laura Mellerio and Ernesto Badini 

By Giuseppina Huguet, Soprano 

Gilda: 

On ev'ry festal morning 

Near to the holy altar, 

I saw a youth observing me. 

Beneath whose gaze mine did falter, 

Though not a word he said to me. 

My heart his meaning well did know! 

Last night he stood before me. 

Fondly he vow'd to love me, 

And 1 gave him vow for vow. 
RiGOLETTO {despairingly) : 

Ah! that thou be spared my infamy 

I've wearied Heaven with praying. 

That every good may light on thee 

Far from the world s betraying, 



{In Italian) 88242 
{In Italian) *45000 
{In Italian) "'62083 



12-inch, 3.00 
10-inch, 1.00 
lO-inch, .75 



Ah, in my hopeless misery, 
My saint I have enshrined thee. 
In horror and anguish here I must find thee. 
Thy future all turned to woe! 
(To Gilda.) 

Daughter come, let me comfort thee in thy 
sorrow — 
Gilda: 
Father! 

RiGOLETTO: 

Weep here, weep, on my heart thy tears may 
flow. 
Gilda: 

Father, in thee an angel doth comfort bestow. 



• Double-Face J Record— For Htle of opposite side see DOUBLE-FACED RIGOLETTO RECORDS, page 378. 

372 



VICTOR BOOK OF THE OPERA— VERDPS RIGOLETTO 
Pianffi fanciulla (Weep. My Child) 

By Marts Galvany, Soprano, and Titta Ruffo. Baritoae 

(In Italian) 92502 12-inch. tA.OO 
By A. Caisani, Soprano, and F. Federici, Baritone *45032 lO-iach. 1.00 

Following the duet Rigolello exclaims : 



Oh, bow ell our fate bss been ehsnged It 

The Ownf Monltione now p«a>es throu^ the hall under guar 
Dvk' '* portrait and exclaima : 



RigUeHQ, Easing after Montemne, grimly aa.y» that vengcBRCe will not be long delayed. 

Si vendetta (Yes, My Ventfeance) 

By Maria Galvany. Soprano, and Tiita Ruffo. Baritone 

{Inllalian) 91501 lO-inch. *3.00 
By Laura Mellerio and Erneato Bidini (In Italian) *45000 lO-ioch, I.OO 

He in tum gazes on the Duk''' portrait and ainga fiercely: 

Bui 'twill not be long Ihus. Ihc aiienger is '[Icav'n doth linow his crime atrociaus, 
nigh. Oh, raighi 1 aveit in wtath — 



Thou Shalt feel a fatl 
Giu)*: 

Oh my father, a Joy ferocious 
In thy words dolh tell of danger — 



Yo. to vengMi.ee fi»r. 
Thou Shalt feel a fath. 
Gilda; 

Ah! miKri a" e*rt (he 
{Thty it tart.) 




• Doaile-Faad Rianl—FQ 



•fA « DOUBLEJ'ACED RIGOLETTO RECORDS, e. 



VICTOR BOOK OF THE OPERA — VERD I 'S RIGOLETTO 

ACT III 

SCENE I — A Lonely Spot on the River Mindo 

A house, half in ruins, at one side. The front of the house, open to the spectator, shows 
a rustic inn on the ground floor ; a broken staircase leads from this to a loft, where stands a rough 
couch. On the side towards the street is a door, and a low wall extends backwards from the 
house. The Mincio is seen in the background, behind a ruined parapet; be^fond, the towers of 
Mantua, It is night. Sparafucile is in the house, seated by a table polishing hts belt, unconscious 
of what is spoken outside, 

Rigoletto and Gilda, the latter in male attire, now approach the inn. Rigoletto pityingly 
asks his daughter if she still can love the Dukp. She confesses that she does, and he 
exclaims: 



Rigoletto: 

Thou lov*st him? 
Gn.OA: 

Always. 
Rigoletto: 

Still to love him is mere infatuation. 
Gilda: 

I love him. 
Rigoletto: 

Ah, tender heart of woman! 

Oh, base despoiler! 

Thou, my child, shall yet have vengeance. 



Gilda: 

Nay, rather pity. 

Rigoletto : 

And if I could convince thee that he^ is 
worthless, wouldst thou still then love him? 

Gilda : 

Perhaps. Ah, he does love me! 

Rigoletto {leads her towards the house to look 
through a fissure in the wall)'. 
Come here, and look within. 



She does so, and is starded to see the Duke, who comes in disguised as a soldier. He 
demands some wine, and while Sparafucile is serving him, sings his famous La donna e mobile. 



La donna e mobile (\^oman is Fickle) 

By Enrico Caruso, Tenor 

By Florencio Constantino, Tenor 

By Giuseppe Acerbi, Tenor 

This familiar canzone, beginning 



(In Italian) 87017 
(In Italian) 64072 
(In Italian) *62083 



lO-inch, $2.00 
10-inch, 1.00 
10-inch, .75 




L«doiiFiuimO'M*la<iulpla-aaalTcii*to,iiitt-Ud'ac - oen«li» • dt pea lie • lo 
IK<ra«-aM IsJIck - U^flast^.uT.ftth'tr.Mot^dKMttkt/em.tkerbonubylke^rte'KM 



is perhaps the best known of all the airs of the opera. Its spontaneous melody pictures the 
gay, irresponsible character of the young noble who thus sings of changeable womankind. 

Duke: 

Woman is fickle, false altogether. 

Moves like a feather borne on the breezes; 
Woman with guiling smile will e'er deceive 
you. 
Often can grieve you, yet e*er she pleases. 
Her heart's unfeeling, false altogether; 
Moves like a feather borne on the breeze. 
Borne on the breeze, borne on the breeze! 

Wretched the dupe is, who when she looks 
kindly. 

Trusts to her blindly. Thus life is wasted 1 
Yet he must surely be dull beyond measure, 

Who of love's pleasure never has tasted. 
Woman is fickle, false altogether. 
Moves like a feather, borne on the breeze! 

Caruso delivers the gay air with an ease and abandon which are infectious, and sings 
the difficult cadenza in the second verse with unusual effectiveness. 
Other renditions are given at varying prices. 

* DouUeJ^at»dRee0td— For tide o/ofipo$iie tide mt DOUBLEJ^ACED RIGOLETTO RECORDS. pogei/A 

374 



VICTOR BOOK OF THE OPERA — VERDI'S RIGOLETTO 




and Rigolttto. It i( undoubtedly thi 
piecea, and the contrasting emotions — the 
uid the heait-bioken soba of GiUa and tki 
ire pictured with the hand of a geniui. 
No leas than five recoids of ihia great 
' ted by the Victor. Th. 



le. He knocks twice on 
e her but she laughingly 
escapes Mri. Now occurs the great Quartet, one 
of the moat famous of concerted pieces. 

Quartet — Bella fi^lia deU'amore 

(Fairest Daughter of the Graces) 

By BcHie Abott. Soprsno: Louiae 
Homer. Contralto: Enrico Caruso, 
Tenor: Antonio Scotti, Baritone 

(Inllatlan) 96O00 12-inch, *6.00 
By Mtrcell* Sembrich. Mme. Sev- 
erina, Enrico Caruao snd An- 
tonio Scotti 

(/n Ilalian) 96O0I I2-incb, 6.00 
By Giuseppina Hufuei, Emma Z»c- 
caria, Carmelo Laniirotti and 
Fr«nce«co Cicada 

(InUallanj *6B067 12-inch. 1.25 
By Victor Opera Quartet 

(/n Italian) 70073 12-inch. 1.25 
By Kryl's Bohemian Band 

*3S239 12-inch. 1.25 
By Hufuet. Zaccaria, Laniirotti, 

andCiKida 5835» 12-inch, l.OO 

By Pryor'a Band 31471 12-inch. 1.00 
By Pryor'a Band ♦16276 lO-inch, .75 

e of Rigoletto abounds, n 

the Dukt, Gi , 

inly of alt Verdi's conceited 

^nder addreasea and coquetry on the one aide, 

;riea for vengeance of her father on the other- — 

tal 






which i 



ion: Homi:,\ M<.-ldaUna. 
s fascinating enough 
> any Duke, and whose 
one vocal opportunity occurs 
here; Scotti's truly wonderful 
and superbly sung Jattr, one 
of the most powerful im- 
personatiotis on the operatic 
stage — all iheae are familiar 
and admired portrayals ; while 
the artists who render the 
bUck label records are alt 
well-known and competent 



imber. in various classes, also three instn; 
ingerswho have been engaged for these 
ir their artistic interpretations of the characters represented. Caruso's Duke, 
lutpourings of luscious voice in the lovely airs; Sembrich 'a perfect por. 
onderful vocalization : Abott'a girlish and brilliantly aung imper. 



Thi 



; aituation at the open- 
ihe act is a most dia- 
ic. The Dakti gay and 




VICTOR BOOK OF THE OPER A — VERD I 'S RIGOLETTO 

: the Muuin hired by RigeleUe 



naking love to Maddaltna, i 
* waiting foi his opportunity. 

He aiiiBB, beginning the quaitel; 




Fairest dauK titer of Ibe graces, 
I Itiy humble stUTc implore thee. 

End the panSB. the pangs o( unrequii 
Of my snguish tee the tracts. 



AIi''''^h" i'B°but'tS"^!ilter 

Ah. Y'ta^l V> think"hot manT 

Yet your lender tale may move! 
Rigolello, who desirea to prove to QlJa that her tovei 
ia (alae, bids her look through the window of the inn at 
the acene within. The unhappy girl, convinced, eictaim* : 



Ab, 1 


s;^, 


rlr 


"n'm 


"»r'r 


gbtly; 


He 11. 




my 


eart 






'Sii"r 


*. thy 


ears 


will 


n-t 


vail tbee 









































































The Dukt now goes to hia bedrooi 
to Verona with all speed and 
he will meet her there. She 



remainder 

Eaid on the delivery of the 
ody of the Dulte at midnight. 
RIgoletto goea away juit as 
Citda, who hoa diaobeyed her 
father, returns and tries to see 
what is going on inside the 
house. Spatafacile enters the 
house and Maddalena. who 
haa taken a fancy to the Dulft, 
begs her brother to spare his 
life, delicately suggesting that 
he kill Ripilelto and take 
the money mm him. Sfiara- 
/uclU is indignant and pro- 
tests that he has never yet 
foiled in his duty to his em- 
ployers. MadJalena pleads 
with him and he finally says 
iF another guest ihould enter 
he will kill him instead o[ 
the Dukt. 




midnight has sounded, 
rite sEall die: 

'Oh.'what a trmplalion; my fatel I have found it. 
In silence and Jarkneis. to save him and diet 



VICTOR BOOK OF THE OPERA — VERDI'S RIGOLETTO 

During this dramatic scene a storm is raging, and in addition to the stage effects of 
thunder and lightning Verdi has the chorus humming in chromatic thirds to illustrate the 
moaning of the wind. This scene is given here in a most impressive record. 

Tempesta—Somiglia un Apollo (He^s Fair as Apollo) 

By Linda Bratnbilla, Soprano ; Maria Cappiello, Mezzo-Soprano : Aristo- 

demo Sillich, Bass ; and La Scala Chorus (In Italian) *68190 12-inch, $1^5 

GilJa hears this terrible agreement and the broken-hearted girl resolves to sacrifice her 
own life to save that of her false lover. She knocks at the door, is seized and stabbed by 
the bandit and her body wrapped in a sack. Rigoletto soon returns, pays the remainder of 
the price agreed upon, and receives the body. Sparafucile, fearing that Rigoleito will discover 
the substitution, offers to throw the body into the river. The Jester says he will do it him- 
self and bids the bravo depart. 

Left alone, the Jester gazes on the body with a horrible satisfaction, saying: 

RiGOLXTTO: 

He is there, pow'rless! Ah, I must see him! Ves, ray foot is upon him! 

Nay, 'twere folly! 'tis he surely! I feel his My grief has vanish'd, 

spurs here. 'Tis turned to joy triumphant; 

Look on me now ye courtiers! Thy tomb shall be the waters. 

Look here and tremble. This coarse sack thy shroud and grave cloth! 

Here the buffoon is monarch! Away, now I 

He is about to drag the sack towards the river, when he hears the voice of the Duke 
leaving the inn on the opposite side. 

Duke: 

Woman is fickle, false altogether, etc. 
Rigoletto (tearing his hair) : 

That voice! Am I mad? What fiend deludes me? 

No, no, no! here I hold him! 

(Calling to the house.) 

Hola, thou thief, thou bandit! 

(The Duke's voice dies in the distance.) 

Then whom have I within here? 

I tremble — ^the form is human! 

(JVith utmost horror, recognising Gilda.) 

My daughter, oh, Heav'n, my daughter! 

Ah, no! Not my daughter! She is in Verona! 

*Tis a dream! 

Then begins the wonderful final duet, a fitting end to such a noble and powerful work, 
and a number which is unfortunately omitted in American performances of the opera. 
However, the Victor customer, more fortunate than the opera-goer, may hear it at his 
pleasure. 

Lassu in cielo (In Heaven Above) 

By Graziella Pareto and Titta Ruffo {In Italian) 92506 12-inch, $4-00 

By Giuseppina Huguet and Renzo Minolfi (In Italian) *68067 12-inch, 1.25 

Rigoletto: The assassin deceived me. Hola! 

Tis Gilda! (Knocks desperately on the door of the house.) 

(Kneeling.) No answer! despair! my daughter! my Gilda! 

Child of sorrow! my angel, look on thy father! Oh, my daughter! 

The young girl, who is not yet dead, opens her eyes and cries feebly: 

Gilda: Rigoletto: 

Ah. who calls me? Child, in pity, oh speak not of dying; 

Rigoletto: Stay thou to bless me, oh leave me not alone. 

Ah, she hears me! She lives then! Gilda (feebly): 

Oh, thou, my heart's only treasure. There we wait, my father, for thee! 

Behold thy father despairing! Rigoletto: 

Who was't that struck thee? Ah, no, no, leave me not! 

Gilda: Live, my child. 

Oh, my father, for him that I cherish. Canst thou leave me alone, despairing? 

I deceived thee, and for him I perish. Gilda: 

Rigoletto: ^ Ah, no — forgive ray betrayer, my^ father. 

Heaven's avenging wrath has undone me. From yonder sky — there we wait — my father. 

Turn thine eyes, oh my angel, upon me, for — (She dies.) 

Speak, oh speak to me, who hath bereft me? Rigoletto: 

Gilda: Gilda! my Gilda! I've lost her! 

Father, oh ask net, ^ (He recalls the curse.) 

Bless thy daughter and forgive her. Ah! 'twas a father cursed me! 

(Tears his hair and falls senseless on the body.) 

(Curtain) 



* Doul>ie-F€KeJ Record— For ttik cfoppotUe $ide j» DOUBLE-FACED RIGOLETTO RECORDS, page37S. 

377 



VICTOR BOOK OF THE OPER A— VE RD rs RIGOLETTO 



Gems from Ritfoletto 

Oionn "Pleiuure Otlta U."— Solo and Choru* "Qirvcd Upon My Heart" 
{Can Nornc)— Duet, "Love ii the Sun"— Solo. "WoiMn i» Fickle"— QuBrtet, 
•■F«irert Dnughter"— Pinole 
By the Victor Open Company {In Engllth) 31366 I2-iiich. tlMO 

Rigoletto— Paraphrase de Concert ( Verdi- Lisrt) 

By Vluliinir de Pachmiaa, Pianist T4261 12-iaeb. tl.iO 

DOUBLE-PACED RIGOLETTO RECORDS 
rCh 'io le parli (I WUl Speak to Him) 1 

I ByCigada-SiUichandLaScaUChoru* (/n/(afton)l._,-„ ,,■ w 

JTempe.ta-8omiBli.un Apollo I He'a Fair aa Apollo) J^eiSO 12-mch. 

I By BrimbilU. Cappiello. Sillicb and Chorus) 

iCaronome (De»re.tN,mei By Edith Helena U" E^H>^)L.oi>7 12 inch 
Quartet— Bella fitflia dell' xmorc (Fairest Daughter of the 
Graces) By Giuseppina Hufuel, Emma Zaccaria, Carmelo 
Laniirotti and Francesco Cigada [In Italian) 6B067 12-inch. 

Lassi) in ciclo |Id Heaven Above) By Giuseppina 

Hufurt. Soprano, and RenioMinolfi, Baritone l_ln llallan) 

(Quartet By Kryl's Bohemisn BandU.-,„ 

Oui Mountains) rcBe/Za's Sanrff 



I Tnoalort Stltcllon 
fMonoIogo — Pari si 
)Pi>ngi fanciulla By CaMani sod .. 

iTuttc le feste at tempio (On Every Festal Morning) 
By Laura Mellerio and Ernesto Badini th Italian) 
Si vendetta (Yes. My Vengeance) 
By Laura Mellerio and Ernesto Badini (/n llallan)} 
(Corligiani, vil razza dannata (Vile Rjce of Courtiers) I 

By Renzo Minolfi. Baritone l/n /(a/Zdit) U«S73 
Lakme—Fanlaliit aiu Jivtni By M. flocco. Tenor {In French) \ 

{Tutte le feste a1 tempio (On Every Fesul Morning) | 

By Giuseppina Huguet. Soprano [In llallan) 162083 
La donna c mobile By Giuseppe Acerbi. Tenor {Italian) | 

/Rigoletto Quartet By Arthur Pryor's Bandi,..,. 

I Ptaamaka Marth Bs ArtlmT Pryor't BanJ^''^^^ 



lO-inch. 



AiOOO lO-incb. 



1 0-inch. 





RINALDO 

OPERA IN THREE ACTS 

Text by Adam Hill ; Italian text by Rossi, founded on the episode of Rinaldo mad AnaiJa 
in Tasso's Genua/onnic Ubtiata. Music by George Frederick Handel. 

Rinatdo was produced at a time when Italian music had become 
the fashion in London, and the composer lollowed the plan then in 
vogue, to ^rrite the dialogue in recitative form. This opera v/hA writ' 
ten by Handel in the smazinsly brief time of fourteen days, and first 
performed at Queen's Theatre. February 24, 1711. The work was put 
on to siffnaliie the coming of Handel to London, and was a magnificent 
production for that period. Only the year before the composer had 
been induced to leave the Court of Hanover for that of England: and 
upon his arrival in London Mr, Anion Hill, the enterprising manager of 
the new Haymarket Theatre, engaged him to supply an Itali. 
Hill planned Rinaldo. flossi wrote the Itahan libretto, and Handelhui- 
riedly dashed off the music. 

The opera ran for fifteen consecutive nights — an unprecedented feat for that age^and was 
mounted with a splendor then quite unusual. Among other innovations, ^e gardens of 
Arnilda were iilled with living birds, a piece of realism hardly outdone even in these days. 

Characters in the Opera 

Rinaldo, a knight, , Soprano 

ARMIDA. an enchantress S<^rano 

ALMIRENA. Godfrey's daughter S<^rano 

ARGANTE, a Pagan king Bass 

GODFREY, a noble Ben 

EUSTAZIO Alto 



tHht limt of tht Cn,«,dt. 



Rinaldo is a Knisht Templar who loves Almiicna, daughtei" of Godfits- The enchantress. 
Armida. also loves Rinaldo, and in a jealous rage seizes Atm -ena and conceals her in a 
magic garden, Armldo's lover, a Pagan King named Arganit, complicates matters by himself 
falling in love with Almlnna. Rinaldo finally rescues Almiitna. and the sorceress and her 
lover are captured and converted to Christianity. 

Among the many arias of great beauty with which the score abounds is the Lascia ch'io 
planga. in which Almlrena laments her capture by the sorceress. This striking number is 
delivered by Schumann.Heink witfi great beauty of tone coloring and impressive power in 
the most dramatic passages. The melody is a beautiful one. 

Lascia ch'io pianga ('Mid Lures ! 'Mid Pleasures E) 

By Ernestine Schumann-Heink. Contralto {In Italian) 86189 12-iiieh, f3.00 



VafnJy dtp'ori-K 



(EnmabJ (Ba«li>h) 

ROBERT LE DIABLE ROBERT THE DEVIL 

OPERA IN FIVE ACTS 

Words by Scribe and Delavigne : music by Gutcomo Meyerbeer. First presented st the 
Acad^mie, Paris, 1831 ; in London, in EoBliah, at Drury Lane. I832i in [talian at Kei 
Majesty's Theatre, May 4, 1847 (first appearance of Jenny Lind). 

Cast 

Robert, Duke of Normurdy Tenor 

BERTRAM, the Unknown Bm* 

Isabella, Princess of Sicily Soprano 

Alice, foster sister of Etobert Soprano 

Knights, Courtiers. HeraMs, Pilgrims, Peasants. Chaplains. Priests, Nuns, etc. 

Although Meyerbeer had 

produced several operas, moat. 

ly unsuccessful, it was not 

until the production of Robert 

1e Diable in 183) that the 

genius of the composerbecame 

iianii^^^^^^H known. The opera met with 

j^ milllill^^^^^l ■"■ unparalleled success and 

^ piSlllinll^^^l "^'^ '""'''' '^^ fortune of the 

Paris Op6ra with its splendid 

_ .^ _ ^^^^^—1 .Mi^^^^^j^ scenic eSects. brilliant instru. 

^X^ ~^^0^^^^#l9nal^^^^^^H mentation, vigorous recitative 

uvT' ^^^^^^■K^HWfl^^^^^l ""^ '^ heroic and partly 

- ^^^ ^BM^HBl^^^^^^B legendary story. 

Rcbtrt, Dukt ofNomandy, 
who was called ReiatlheDectl 
because of his courage in 
battle and his successes in 
love, is banished by his sub- 
j jects and goes to Sicily, where 
_i he continues to struggle with 
an Evil Spirit, which seems 
to tempt him to every kind of 
excess. Altct, his foster sister, suspects that his supposed friend Berlram, is in reality this 
evil influence. At the close of Act I Roieri, ted on by Batram, gambles away all his 
possessions, and failing to attend the Tournament, loses the honor of a knight and greatly 
displeases the LaJy habtUo, whom he loves. 

The second act shows the entrance to the Cavern of Satan, wherein a company of Evil 
Spirits are collected, and where occurs the great scene for Bertram and the chorus of fiends. 

Valse Infernal, **Ecco una nuova preda" d Have Well Spread 
My Toils) 

By Marcel Journet and Chorus {In Fraich) 74262 I2-ioch, *1,90 

Bertram promises the Demons that he will complete the ruin of Roterl and the fiends 
rejoice at the prospect of adding another soul to their company. 







VICTOR BOOK OF THE OPERA-ROBERT THE DEVIL 



Allct, who hat come to the vicinity of the ceve to meet her lover, overheara thim infernal 
bargain and determines lo *ave him. Rottrl, dejected over the kw* of hia honor and 
wealth, meet* Bertram, who promiiea that all ihall be realored to him if he will have the 
courage lo viait the ruined abbey and secure a mssic branch, which can give wealth, power 
and immortality. 

Du rendezvous (This is Our Meeting; Place) 

By Edmond Clement and Marcel Journet (/n Fnnch) 76O20 12-inch, *2.00 

Le bonheur est laus I'mcoastance (^^hat is Life 'Without Change ?) 

By Edmond Clement and Miccel Journet (/» French) 76021 12-inch, *2.00 
The next scene shows the ruins, where Bertram invokes the aid of the buried nuns in 
completing the downfall of Roteri. This famous invocation is sung here by Ptan^n. 

Invocation — Nonnes, qui reposcz (Ye Slumb'ring Nuns) 

By Pol PlsncOQ. Baritone (In Frtnch) S9129 12-inch. *3.00 

Bertram ipeaks of the founding of the convent and of the false nuns who lie buried 
here, and calls upon them to arise. 

WhoK unh " " " " " 

"" '"" Nifns. who benialb Ihii cold rtooe rsperer, 

For an hour farulce vour Kpulcher beds, 
King of Hell, it i> I who calU you. 

The spectres arise, and 
when Rottrl appears they 
dance around him and lead 
him to the grave of Si. 
RetaUe, where he ia shown 
the magic branch. Overcom- 
ing his fears, he grasps it, and 
by its power defeatsthe mul- 
titude of demons who arise 
from the infernal regions to 







: RtAat 



In the n 
uses the branch to become 
invisible, and goes to Laig 
Iiabtlla'i room to carry her 
off. In thU scene occur* the 
famous sir for haiella, " Oh, 
Robert, My Beloved." 

Robert. O tu che adoro (Oh, Robert, My Beloved I) 

By Margarete Matzenauer. Mezzo-Soprano (Italian) 88365 12-iiich, tS.OO 
She appeals to his better nature in this lovely cavntina : 

!s«Bi!LL*: Now at Ihy Ittt I li"—!' 

Oh. Robrrl. oh. my beloved! Meicy on thyself, 

I live alone, jes. alone for thee Oh. have mercy and 

*' lish ihou --■ - ,. . . y 



On thyself h 



-Sh, llie "tiei that once "bouncf'lilee" 
Now no more can^•t thou feel? 
Once 1 Teceiv'd ihy homase. 
The air, which is vmtten for a a 
Mme. Matienauer's i 






rd gladly periih. 



On thywK hav 



. . I well adapted to show the great range of 
i, her high notes being beautifully taken. 

Selection, including " Oh, Robert, My Beloved" 

By Arthur Pryor's Band {Dtotlt-f-xiJ) 39064 12-inch. 11.25 

Moved by her entreaties, he yields to the promptings of his good angel and breaks the 
branch, thus destroying the spell. 

In the last act Bertram renews his efforts to induce Ratal to sign an eternal contract. 
Tired of life, he is about to yield when Alice appears and tells him of the last words of his 
mother, warning him against the Ftend, who ia in reahty Robert'* father. The clock strikes 
twelve, and the bafBed Fiend disappears, while the cathedral door opens showing the 
Printea wailing for the reformed Robert. 




ROBIN HOOD 

COMIC OPERA IN THREE ACTS 
' B. Smith: music by Reginald de Kovi 



vived *t 



V. by th 

tKe Nev 



1. Pint performance in 
. ,, . than four thousand bmet. 

iierdam. New York, by the de Koven Opera Company. 



Character* 
Robert of Huntington, known ai Robin Hood Tenor 

Sheriff of Nottingham Baaa 

Sir guy of GISBORNE, hia ward Tenor 

Little John 1 fBaiitone 

WILL SCARLET o,.,Uw. i^*" 

ALLAN-A.DALE ^""«"" Contralto 

Friar Tuck | IBbm 

Lady Marian FITZWATER alterwatda Maid Marian Soprano 

Dame DURDEN, a widow Contnllo 

Annabel her daughter Soprano 

VillaBera, Milkroaida. Outlaws, King's Foresters. Archers end Peddlers. 

Time and Plact : Nottingham, England, in the Iwtl/lh ctnturg. 
At the beginning of the opera a merrymaking is in progress at the marketpUce in 
Nottingham. The three outlaws. UttU John. Will Scarlet and Friar Tuck, enter and aing of 
their free Ufe in the Forest of Sherwood, and finally the handsome, dashing Robin Hood 
appears, declaring that he is the Earl of Huntington, and demanding that the Sheriff thM so 
proclaim him. The Sheriff, however, protests that the youth has been disinherited by his 
own father, who before the birth of RtAin Hoodviat secretly married to a peasant girl, who 
died when her child was an infant. The child is Sir Guy of Gishomt, the rightful heir to the 
earldom and the Sheriff'! ward, whom he is planning to marry to Lads Marian, ward of the 
Crown. However, the young girl end Rohln Hood are already deeply in love and ex- 
change vows ai eternal faith, much to the indignation of Sir Guy. Lady Marian protest* 

382 



VICTOR BOOK OF THE OPERA— ROBIN HOOD 



agaiiut her marriage to Sir Caj/, hoping that on the return of the King 
from the Cmaadea she will be released, while Robin Hood plans with 
the help of the King to prove hia right to the earldom. The out. 
laws sympathize with the pair and invite Rohin Hood to join them, 
promising him he shall be their king and rule them under the 
Greenwood Tree, to which propowl Rotin Hood at length agrees. 
In the last act the daihing Ling of the outlaws brings the message 
which saves Maid Marian from the hated marriage with Sir Qay, and 
the opera ends amid general rejoicings at the triumph of R^n Hood 
and the gentle Marian over the plotting Sheriff and his ward. 

Gems from Robin Hood— Part I 

"Hey. for the Merry Creenwood" — " Brown October 
Ale" — "Come Dream So Bright" — "Tinkers' Chorus" — 
■'Oh, Promise Me"— "Come Along to the Woods" 
Victor Light Opera Company 3IT6B 12-inch. fl.OO 

Gems from Robin Hood — Part H 

"Ho. Ho. Then for Joliily"— "Ye Birds in Aiure 
Winging"— "Armorers Song "-"A Hunting Well Co" 
— "Ah! 1 Do Love You' — "Sweetheart. My Own 
Sweetheart"— "Love. Now We Never More Will Part " 

Victor light Open Company 31868 12-inch. l.OO 

iOh. Promise Me | 

By Hirry Macdonoush, Tenorl 
Sing Me lo Slap (Greene) I 

Bji Coiinne Morgan, Soprano} 
iOb. Promise Me 1 

By Alan Turnei 
Dearie (Kammer) 
By Eliie Ba^er, 5opraira| 
/Favorite Airs from the Opera By Pryor's B«nd\,t.,„ 



lO-inch. 



'}l7ie9 10-inch. 



Pri-Kt of Pihen Seleilion {Uder,) 



lit Soaaa 'l Band\ 




Armorer's Song 




By EutfeD. Cowle*. B.M 


*737 


lO-inch. .«» 


■ 


3 


■ 


Pf-jF^^ 


1 


i^ 


5'^^^K 


^^S 


n 


B| 


imj 


fij^t ^ 


JyHI 


m 


3^ 



(FrsnclO 

LE ROI DE LAHORE 

(English) 

THE KING OF LAHORE 

OPERA IN FIVE ACTS 

ff 

Libretto by Louis Gallet; music by Jules Massenet. First production at the Grand 
Op6ra, Paris, April 27, 1877; and at Covent Garden, Royal Italian Opera, June 28^ 1879. 

Cast 

AUM, King of Lahore Tenor 

SCINDIA, his minister Baritone 

TiMUR, a priest i . . Bass 

INDRA Bass 

SITA Soprano 

KALED, confidant of the King Mezzo-Soprano 



Time and Place : India ; the eleventh century, during the incursion of the Mohanunedans, 



This early work of Massenet's is founded upon an Indian subject, and deals with the 
Mussulman invasion. It is noted for its brilliant ballet, illustrative of an Indian paradise. 

Sita, niece of the high priest, Tlfmur, is beloved by Alim, King of Lahore. His rival, 
Sdndia, accuses her of profaning the Temple and she is condemned to death, but is saved 
by the King, who asks her hand in marriage. 

In the second act Alim, at war "with the Mussulmans, is betrayed to the enemy by 
Sdndia, and is killed in battle, while Sdndia seizes his throne and carries away Sita, 

Alim is transported to the celestial realm of India, but is not contented, and begs the 
divinities to allow him to return to earth. His request is granted on condition that he does 
not resume his rank and returns to India when Sita dies. On his return he finds that 
Sdndia has secured the throne and forced Sita to become his wife. Alim declares himself, 
but Sdrtdia denounces him as an impostor. Alim is obliged to flee, but Sita goes with him« 
and when they are about to be captured she kills herself. Alim, in fulfillment of his vow, 
also dies, and the lovers are united in celestial India. 

Protnesse di mon avenir (Oh, Promise of a Joy Divine) 

By Emilio de Gotforza, Baritone {In French) 881 72 l2-mch, $3.00 

The most famous of the numbers' is of course thti superb air for baritone in the fourth 
act, which La Salle sung in the first production with great success. A portion of the fine 
translation by Dudley Buck, from the Schirmer ** Operatic Anthology ** (Copy't G. Schirmer), 
is given here by permission. 

Scindia: 

The Sultan's barb'rous horde, who had so 

gladly riven 
From us fair Lahore. 
By our own might have from the field been 

driven. 
From care my people free. 
Loudly sound tortn my praises! 
O promise fair of joy divine, Sita, •••^••••♦•••« 

Thou dream of all my life, Sita. my queen thou soon shalt be! 

O beauty torn from me by strife. To thee the world its glory offers, 

At last, thou shalt be mine! O Sita! To thee a king his crown now proflFers; 

O fair one, charm my loving heart. Come, Sita, O come! ah I be mine I 

And ne'er again from me depart! 

A fine rendition of this air is given here by Mr. de Gogoiza* whose beautiful voice and 
perfect French diction are well exhibited. 

384 



ROMEO ET JULIETTE ROMEO and JULIET 

OPERA IN FIVE ACTS 

Woida by Baibjer and Carr^, after Skakeapeare'i drama. Music by Ckarlea Gounod. 
Fint produced at ihe ThtdUt Luriqut, Psm, April 27. 1667. Firat London production July 
1 1, 1867. Presented in America. 1868, with Minnie Hauk. 

Some famous American productions occurred in 1890. with Palli, Ravelll, del Puente and 
Fabii: in 1891, with Eames (dibut). the de Reszkes and Capoul; in 1898, with Melba, 
Saleza. de Eleszke and Plancon : and more recently with Farrar as Jalltt. 



Characters 

JUUeX, (/oo^-c/) daughter of Capulet Soprano 

STEPHANO. {Sitf'-ah-noh) page to Romeo Soprano 

GERTWUDE. Juliet's n.irse , . Mezzo.Soprano 

ROMEO Teno(_ 

TYBALT, (TtUah[) Capulet's nephew Tenor 

BENVOUO, {Bm-ta Jet-Bk) friend of flomeo Tenor 

MERCUnO. (M«>.»'-.A«mA) friend of Romeo Baritone 

PARI& (PoA-«') Capulet's kinsman Baritone 

GRECORIO, Capu let's kinsman Baritone 

CAfnJLET. (Coe-u-W) a Veronese noble Baaso-Cantante 

Friar Laurence Bass 

The Duke OF Verona Bass 

Guests; Relatives and Retainers of the Capulets and 
Montagues. 



Tht action laka plao 




Gounod having written for the 

tional passages ever composed, 
and the opera has even been 
called "a love duet with occa- 
sional interruptions." It is of 
course not another Faust, — no 
composer could write two such 
works,— but it is a most beau- 
tiful setting of the story of 
the ilUfated Italian lovers, 
and will always be listened 
to with pleasure. 

Several of the Shake- 
spearean personages have 
been omitted from the opera 
cast by the librettists, and a 
new character, that of the 
page5(cpA<ir», has been added. 



f- '^ 






VICTOR BOOK OF THE OPERA-GOUtJOD'S ROMEO AND JULIET 

ACT I ^^^^^P^^^^^ 

SCENE— BaZfnxHn In Capulcl'i Houk, Venma ^^^^^kS^^^^H 

The curtain lues on a scene festivity. Capulel, a ^^^^^^E^~B?^^^^H 

Veronese noble, ia giving a maaked ttte in honor of hi* ^^^^B^^^^^^K^^^^^I 

(laughter /uAd'j entrance into aociety. ^^^BS^^^^^V ^^^^1 

Jutlei a presented to the gucat* by her fathei, and ^^^VfflV ^? ^^^H 

Capulel, in a Tounng ait. calla on hia gueala to make meriy. ^^^Kf/ V^'j- u ^^^^| 

When the gueata have gone to the banquet hall, ^^v' \rS^S^ ^^H 

fiditt lingera behind and givea eipreaaion to her girlish joy ^^m ' ' ' — 'T ' ^^^| 

in the famous waltz. ^V ^H 

Valse (Juliet's 'Waltz Son?) W V 

12-uicb. *3.00 K i B 

_ IZ-inch. 3.O0 A M 

By Blanche Arral, Soprano ^Hl . f^| 

{In French) 74151 12-iDeh, 1.50 ^H 1 JH 

It ia maintained by some cridca that this waltz Ii too ^^L I ^^| 

■kowy and brilliantly effective to be sung by a modeat ^^^^^ ] ^^| 

young girl at her firat ball . However. Gounod has written ^^^l^^a ^V 

■uch an uncommonly pretty waltz of exquisite melody, ^^^^^^^^^k, ' i | 

that most heareia are too delighted to inquire veiy cloaely j^^^^^^^^BM \ \ \ 

into questions of dramatic fitneaa. ''"'' ''""" 



"song*. jtsl, pcifumt and dames. 
SmiTes. vows. Idv*.|adrn glances 



Sprit 



oifoldcn Would Ihst nevfr age or Hdness 

Tbrew tbeir shade o^cr my brow; 
Ji its ear-haunring melody, are oflered Foi a 
selection. Mme. Tetrazzini gives it with much animation, ita difficult lequirementa being 
met with a perfect eaae and grace. 

Mme. Eamea, whose Juliet ia remembered with pleasure, sings the number with much 
charm; while another fine rendition ia contributed by Mme. Arral. 

Juliet is about to leave the room when Romeo enters, having ventured masked into 
the house of hia enemy. He ia much impressed with her beauty and grace, and contriving 
to speak with her. asks her to remain a moment. They sing the Etat of their duets, the 
opening portion of which is full of airy repartee. Aa the number progresses a mysterious 
attraction seems to draw the youth and maiden toward each other, and the duet becomes 
an impasaioned love scene. 

Ange adorable (Lovely Angel) 

By Geraldine Farrar. Soprano, and Edmond Clement, Tenor 

{InFremh) 88421 12-inch. 13.00 

By Alice Nielsen and Florencio Constantino {In French) 74108 12-inch, 1.50 

RoHEo: liiit. >b m»! I not such as tbis. 

Angel that wureEt graces tbe fairesi. Palm unto palm, not ted lips meeting, 

Forgive, if to touch I dare. Is a holy palmer's kiss: 



n hath formed so fair! To palmer 



Kiss, that efface 
This hand hath 



Tbj hand, good pilgrim. 

FoT™h™ dost blame it o'er 
To pure devotion surely be|. 
Ssintly palm that thou may-^ 
Hands there are. sacred to 



VICTOR BOOK OF THE OPERA— GOUNOD'S ROMEO AND JULIET 




Then mov 

Whilsl Ihf 

{Ht kill 



hall Uke! 

Ah! now my lips from thine burn 
Have the iin llul thry have Ukc 



Tytall. a hot-headed member of the Capaitt family, recos- 
nizei Romto through ki« muk, and threatens to kill him for 
his prcBUmption in coming to the houte of his enemiea. 
CapuUl reatraina Tyhail and the dam 



Thia > 



ACT II 
SCENE— Cilpufel'i Garden; Juliel't Apartment! AtoBe 

almost literally Erom Shakespeare, the only var 



srally Erorr 
I, which se 
'ho ia braving the displeaaure of 
n the hope of seeing /u/ieJ a^ain. 
appears, and gazing at the balcony, sings his 
lovely serenade. 

Ah I leve toi soleil (Arise, 
Fsireat Sun) 

By Herman Jadlowker. Tenor 

(InFrench) 76025 11-inch. 12.00 

By Lambert Murphy. Tenor 

{tnFmnch) r0102 IZ-inch. 1.25 



erely to divide the long love duet 



te-.' 



r the vault at even 
ith » feeble lightness, 
again! Oh! riw agaii 
isb ni(ht'h dark shadi! 



From Iheii 
Now she « 
Ity her bei 



Jallel appears on the bal. 
cony and Cornea conceals him- 
self. She speaks to the sla 
of her new-found happlnesa. 

Ah. tne— ana slill 1 love hill 
Komeo, why an thou Rome. 
UoS then ifay name, fur it 




VICTOR BOOK OF THE OPERA— GOUNOD'S ROMEO AND JULIFT 



A Ions •cene between the lovers i> interrUDted 
by Cngarlo and *ome retainen, who sie aeaTching 
(or Romto, He conceals himself, and on iheir de- 
parture (he duet is reBumed. 

Ne fuia encore (Linger Yet a Moment) 

By Alice Niebea. Sc^rsao. and Florencio 
Constantino. Tenor 

(In French) 64091 10-inch, *1.00 



p Jul 



Let n 



.s Ihy d 



. 1 pra: 




'"fiooil night, lovi. 
■RoMfji: 

nc.iH: "'* 
C.ood night! Dtarcst. this fond goad night 

Thai 1 would say good nighl, till il be dawn! 
RuMto; 

Soft iic Ihj- rtlKisc lill morning! 

On Ihint eyes slumber dwell, and >iveel ptsa 

In thy bowm; would I wcie sWp and ixace 

ACT III 

SCENE I— T-Ae Cdl of Friar Laa^nce 
Romeo and Juliet meet by appoinlnient in the Friar's cell to ask him to nurry ihero. He 
iJTSt protests but finally consents, hoping the union wilt brine the rival houses to- 
cher in friendship. The marriage takes place, and Julitt returns home with her nurse. 
SCENE 11—^ Street In Vtrona 
Slepharto enters, seeking his master. Observing the residence of Capulet, he decides to 
{. thinking Romeojaay still be lingering near the house. A fine rendition of this 



sing a song, thinking liomto : 
air has been given by Rita F 

Chanson de Stephano (Page Song) 

By Rita Fornia. Soprano 




insulted and forced to fight, killing Tjiiall. The 



74211 12>iiicb, *1.90 

This brilliant young so. 
piano, who ha* just been en- 
gaged by the Victor, has made 
an especial success at the 
Metropolitan in this rAle. her 
fresh and youthful voice being 
admirably suited to the music 
of the Page, while in the 
recent revival of Romeo her 
singing of Slephano't air was 
pronounced one of the best 
features of the performance. 

GngoHo appears, angry at 
being ivaked up. and scolds 
the noiay youth, finally rec- 
ognizing him as the compan- 
ion of Romeo on the previous 
nighl. They fight, but are 
interrupted by Mcrcallo and 
Tyiall, who begin to quarrel 
with Gngatio, Romeo enters 
* tries to act as peacemaker, 

omea to the ears of the 



VICTOR BOOK OF THE OPERA- GOUNOD'S ROMEO AND JULIET 

Dak' of Vttona, who hsppeiu to be paawng with liii suite, and he liBnulie* Romeo from 
the kingdam. The unhappy youth yieldi to the decree, but secretly vow* to oeejaliti iiBain. 
ACT IV 
SCENE— /uftrf* Room 
Romeo hat made h» way into Cafiuleti hauK at Imminent riik of death, and has 
penetrated to the loom of bia bride. As the curtain riaea he ia taking lea*e of her, and in 
another exquiiite duet ihe begi him not to go. He finally depart* after a tender farewell. 
, ^ juat a* Capaltt and Ftiar Lauravx enter to leM her that it wa* TyhaU't 

^^ V dying wiih that ahe ahould mairy Parii. Left alone with the good 

■ ^^4 priest she tell* him she will die rather than be *epBrBted from Romro. 

\j90 The Friar telU her to have patience, a* he hai a plan by which they 

r^r^ are to be reunited. He then give* JalitI a potion, commanding her 

^~^L/^V to drink it when bet marriage with Parfi seem* imminent and tell* 

^ Jltr~>*\ her »he will go into a death-like trance. He continue*: 

L3ABiIl?S1 F»ai Lauhhce: 

WMBjAr/l Loud will the^ raise Ihr sound of lamentation. 



The'ang'fslwe't 



■Ul^^K^^^^B Thy husband shall be there, in Ibe night to 

^^^^^^^^^^H The good prieat leave* her and shortly afterward, seeing her 

^M^^^^^^^^^H father and Pari* approaching, ahe drinka the contents of the pbial, and 
^HH^^^^^^H growing faint, apparently expires in Ciptilefi arms. 

^K^mW^ SCENE— TAe Tomb of JalitI 

^^^U^^P H The curtain rises, ahowing the *ilent vault of the Capoldt, 

^^U^ M^^ where Juliet is lying on the bier still in her trance. Romeo, who has 
B^^BP^t^ failed to receive Friar Laurence a message, and believe* JuUtt is dead. 
"O^j now forces the door with an iron bar and enter*. 

»ni Kiiiiiia He sees his bride apparently dead, and fiinga himself on her body. 

CONSTANTINO AS louED After a mournful air in which he bids her farewell he drink* poi*on, 
but is soon startled to see signs of life in the body aS Juliet. 'For- 
getting the poison he had taken, he embrace* her joyfully and they ling their final duet : 

Ah! melhouihl thai I heard Come, let's fly hence' 



ToAes that 


TW 


d. K 


.fl falling! 


Juiibt:' 
















Happy dawnl 








bine 












Who iby si 








Come. 


Ibe world 


'is all befi 




Led by n>x 


heart 


aloi 












Thee, my b 


ride. < 






Gra*° 


that our 1 










Hd" 












(pHliel %lh 




Air, 




Holy 




iTirour lif. 


= shal 




reme 


.mb, 


Ering the fatal dr. 


lUght, Rom«, c 


rie* out in horror : 




















Alas!'l hel 


ieved 


■lice 


dead. lo.e. and- 


^She 


sliii her, 






1 d>ank o( 




raiiglit ! 


Son 


«ie Mf r. 




rif to 




'fhi,l. 


) 




"hoW! 


Hold thy 


handi 




"of'^llial dra 


ught! 


It 


is death! 


Juliet: 








1 Talking th. 


' hial 


.) 




Ah. h, 


Kr-i 






Ah! lb™ . 








My « 


f.sre 




To drink 


'am 


No 


' friendly drop 1 


.hoo'sl Thus 


to die. lov. 




left mr. 




b lb 




Yet'o 


;e(i U'l '*. 


i'lS 


Ihee- 


fhl lijj 


"ihP 


t" 




™6*r- (Tht, 


"'mv"n"f" 




htr-,' 










hea 


'i;,.r" 


ua Ihy gra 




Ali^here's ' 


my daggei 


■ still: 


(They 







DOUBLE-FACED ROMEO RECORDS 

I2>iiich. *tJt9 



<Fiauh) 

SAMSON ET DAULA 



SAMSON AND DELILAH 

OPERA IN THREB ACTS 

Tew by Ferdinand Lemaire ; muiic by Camille Saint-SsCns (Soh'-Sahiu'). Pint produc- 
tion nt Weimar, under Lint. I>ecember 2. 1877. In France at Rouen. 1890. Performed at 
Covent Garden, in concert form, September 25, 1893. Fir«l American produclion Februaiy, 
1895, with Tamngno and Manlelli (one performance only). Revived by Oscar Hammentein, 
November 13, 1906. 



Cut of Character* 

DeULAH Mezzo-Soprano 

Samson Tenor 

High Priest OF Dacon Baritone 

ABIMELECH, Satrap of Gaza Firat Baa 

AN OLD Hebrew Second Baas 

PHILISTINE Messenger Tenor 

RRST PMUSTINE Tenor 

Second fn^lLB■^NE Baaa 

Chc>rua of Hebrew! and Philiatinc*. 



Timt and Mac, 



1150 8. C; Gaza 



1 Palalint 



Camille Sainl-Saena has been for two generations the foremost figure 



France. Poet, astronomer, t 



t of music, he is 



tier, eicelling in every branch of the s 

undoubtedly the moat versatile musician ol our time, hie 
has held a commanding position on the concert stage 
since 1646, when at the age of ten he gave a concert in 
Paris. On October 13. 1906, he pUyed one of hU own 
concertos at the Philharmonic concert in Berlin. Sixty 
years before the publlcl In all the history of music 
there is no more wonderful career than that of the com- 
poser ol Samson, ^vho a feiv years ago visited America 

Sanaon tt Dallla may be called a biblical opera, 
almost an oratorio, and the polished beauty and grace of 
this great composition has caused it to be pronounced 
Saint-SaHns' masterpiece. The religious and militant 
flavor of the Jewish nation is finely expressed in the 
score, and the eiquisite love music is more or less familiar 
by its frequent performance on the concert stage. 

ACT I 

SCENE— ^ Public Sqaan In Gaza 
L^.. . uu.^., -pj^ opera has no overture. The first scene shows a 

lAUAtwo «s SAMSON square in the city of Gaza, where a crowd of Hebrews 

are lamenting their misfortunes, telling of the destruction 
of their cities and the profanation of their altars by the Gentiles. 
&iin<on speaks to the people and bids them take courage. 

3B1 




VICTOR BOOK OF THE OPERA— SAMSON AND DELILAH 




Fitflia miei v'arrestate (Pause. My 
Brothers) 

By Chirlci Dslmoru. Tenor 

(/n French) 87087 10-inch, *2.00 
By Nicola ZeroU 64173 lO-inch. l.OO 



1' the"' voice "of"tht Lordl'who by mj raoulh 



To 



liars raise 
.r God. 35 



cheered by Samaon'i words, but 

Uieir mood «»n changes when a number of PhiliitineB 
enter and revile them. A fight occurs, «nd Sainton 
wound. Ablmdech. The High Pri»t of Dagon comes 
out of the Temple and curses Sanuon, 

From the Temple now comes Delilah, followed by 

the Prieatesaes of Dagon, bearing flowers and singing of 

Spring. Detllah speaks to Samaon and invites him to the 

valley where she dwells. He prays for strength to 

spite of himself he is forced to look at her as she dances with 

girls dance Delilah sings to Samaon the lovely Song of Spring. 

(frtfKA) ((krmaiil 

Printetnps qui commence — Der Fruhltnff erwachte 

(Delilah's Song of Spring) 

By Ernestine Schumann- Hetak, Contralto (InCtnnan) 86417 12-inch, t3.O0 
By Gerville-Riache. Contralto (/n Fnnch) 88244 12-inch. 3.00 

llELiuiH: Spring voices are singing. 

Itrighl hppc thry arcTinnging, 






All days 
The earti 
Wilh frr 
In y ■ 



glad a 



Whcn''n1"/°"''^s?en'dr""'* 

Bewsiting my fate. 
I'-or him will I wail. 
Till fond love returning, 
In hia bosom hurninB 
en fori 



May 



Sanaon shows by his hesitation and troubled bearing that Delilah has shaken his 
■olulions. and as the curtain falls he is gazing at her, fascinated. 
ACT II 
SCENE— Delllah'i Home in the Valley of Soreck 
Delilah, richly attired, is awaiting the coming of Samion, and muses on her coming 
umph over his affectiona, and the plot to secure his downfall. In a fine air she calls on 
IV e to aid her. 



Amour viens aider (Love, Lend Me Thy Might) 

By Louise Homer. Contralto (In Fttnch) 88201 12-i 



1 Samson's brave heart for 

■or'row'lel hini'*'rapl'ive he! ' 
Ihnughl of me lie wonM hani^h. 



Hilt 



DUld S' 



EvV. . 

.\nd f 

After a scene between Delilah and Dago 

anaon arrives, impelled by a power he canno 

Ddllah greets him tenderly, and when he 

lie sings that wonderfully beautiful song of lo 

NOTE,— Te.1 n Ihli PMC (ram Dilu Ediliai hy permin 



eople 



ni ii 



, who urges her not to fail i 
}itlerly reproaches himself foi 

«. Copy't ]6<ii. OGw DiiHi Co, 



inch. tSJM) 



1 her purpose, 
his weakness. 



VICTOR BOOK OF THE OPERA— SAMSON AND DELILAH 



Mon coeur s'ouvre a ta voix (My Heart 
at Thy Sweet Voice) 

By LauiM Homer. Coatralto 

(In French) 86199 11-inch. fS.OO 
By Schumaan-Heiak, Coatralto 

[In German) 88190 12-iiich, 3.00 
By JeaoDc Cerville-Ritelie. Contralto 

(In French) B6 1 64 1 2-inch. 3.00 
By Ebie Baker. ContrBlto 

(InEngllih) *16192 10-iaeh. .79 
By Miehele Rinaldi with VeiselU'* Bind 

Oimd * 17216 10-inch. .75 

Thi« lovely ait of Dtlllah. perhaps the moM beautiful 

contralto air ever wrilten. and the moM familiar of the 

numbera in the opera, ia in the repertoire of almoat 

every contralto. 

Thia quotation from the effective (ranalation by 
Nathan Haakell Dole u from the Scklrmer libretto. 
(Copyright 1692. C. Sehirmer.) 

My heart al Ihj swcel voice apcni wide like Ihv flowFr 

Veir thy love^^ilill'un's'hakenl 
O, ay thou wilt no! now leave ^Delilah again! 
T^hou'dAre'st'ol'inc":"^" " ''' '""""'" """■ 
Five records of thia well-known air are lirted here. 
I aaka that Sainton conlide to her the aecret plana of the Hebrew*, and when 
calla the Philiatinea. who are concealed, and Samaon ia overpowered. 
ACT HI 
SCENE \—A Prison al Gaxa 
ihown in chains, blinded and shorn of his hair. Aa he slowly and painfully 
nrinding com. he calla on Heaven to forgive hia offence, 
rds enter and conduct him to the Temple. 

SCENE W-A Magnificent Hall in ih, Tempit of Dagon 
The High Priests and Philistines, with Delilah and the Philistine maidena. are rejoicing 
over the downfall of their enemies. The music of the opening chorus and the Bachanal haa 
been given here in a fine record by a famous Spanish band. 

Coro y Bacanal (Chorus and Bachanal) 

By Bands Real de Alabarderoi de Madrid *62660 10-iach. M.li 

Uley have sent for Samxin to make sport of him. Ddilah approachea him and taunta 
him with his weaknesa. He bows his head in prayer, and when they have wearied of their 
sport Samson asks the page to lead him to the great pillara which aupport the Temple. He 
offers a last prayer to God for strength to overcome his enemies, then, straining at the 
pillars, he overthrows them The Temple falls amid the shrieks and groans of the people 

DOUBLE-FACED SAMSON AND DELILAH RECORDS 




(My Heart at Thy Sweet Voice— By Elsie Baker (In EnjftjA)! , . , -- ,- . „. 

\ Manon -Laughing Song By Edith Helena {In Englah)!"^^^ lo-incii. 

(My Heart St Thy Sweet Voice Comet 1 

I Michele Rinaldi with Veasella's Bandl,,,,, ,- . , 

Faremell to the Fatal (Mendebtohn) 2. Spring Song (Hmull) '^^ife lo-incti. 

I Victor Brau Quariel] 

iChorua and Bachanal By Banda Real de Alabarderost . _. ,„ ,- ■ . 

Minuet from 2nd Symphony (Haydn) By Banda Real]*'^*'*'^ 10-Ulch. 



SAPHO 

OPERA IN THREE ACTS 

Text by Cmile Au^er ; niunc by Gounod. The opera wu firtt pre«eii[ed at the Op^ra. 
Pari*, April 16, 1851, with Mme. Viardot. and was the fint work Gounod had written for the 
Hage. In 1858 it wai reduced to two acts and revived. Another revival occurred in Paria, 
April 2, ISB4, under the direction of Gounod. The lirat London production, under the 
title St^o, occurred at Covrat Garden in 1851, with Viardot, CaBtellan, Tamberlik and 



Character* with the Original Caat 

SAPHO, « poeteu Viardot 

PHAON Gueymard 

GLYCERE Poinaot 

fYTHEAS Brimond 

ALCEE :,..M«ri* 

PRETRE Aym^B 

The ■cene of Gounod's Sapho ia laid in Mytilene, 
where Sapho, the poeteta, rules. She has fallen in 
love with Phaon, but this affection proving hopeleu. 
ahe leaps from the rock of Lencadia and is drowned. 

The music of this opera is little known in America 
with the exception of the beautiful air, O ma lyre 
hnirmrldU, a fine record of which ia here offered by 
a famous contralto. 

O nu lyre immortelle (Oh, My 
Immortal Lyre) 

By Jeanne Gerville-Reache. Contralto 

UnFnnch) 88166 t2-iiich. »3.00 




Oh harp 
Dayi full 
By IhM 
When th 



(Inllu) 

IL SEGRETO DI SUSATSTNA 

(EtlStk.gra,/.l,A J~ ^XMOn'-IiiiA) 
(Eagluh) 

THE SECRET OF SUZANNE 

OPERA na ONE ACT 

From the French of GolUciani ; text by Kalbeck: inu*ic by Eimanno WolE-Feirari. 
Firat producbon Munich, 1909: in America, Uiicaso. 191 1> with White, Sammarco and DaddL 

Charaetec* 

COUNT OL (aged thirty) Baritone 

Countess Suzanne, his wife (aged twenty) Soprano 

SANTE, a Bervant (aged fifty) Acting part 

Time anJ Place : A draining nem In Pttdmonl ; 1840. 
II Stgnio ii Sataima ia a playful conceit, with a very simple little plot. Coanl Gil is very 
much in love with hi* wife, but i* averse to cigarette ■moke, and Coantett Siaanne, who ia a 
devotee of the cigarette, take* the opportuniQr to amoke during her huaband'a atuence. 

On hia return he ameila 
the amoke and questiona 

being the guilty par^. 
The Count immediately 
condudea that hia beau- 
tiful wife ia receiving 
attentiorw from aome 
Piedmont gallant. Hia 
wife'a efforts to pacify 
him areurksuccesafuLand 
In a huff he leaves the 
house. On hiadeparture 
Suzanne lights a cigarette, 
but on her husband's 
sudden return ahe throws 
it intothefire. Thetesnr 
Coanl notices the fresh 
amoke and ruahes about 
the apartment in jealous 
rage, determined to cap- 
ture the culprit. Failing 

-..■w ^__..L.. ^,.„ -.jjw ^..~u-=-n moregoeaoul. AsSiuanne 

attempts to enjoy another 
cigarette, the Counl peeps through the window, and seeing the smoke, rushes in triumph into 
the room. Suxanne hides the cigarette behind her, and the Cncinf, trying to reach the imag- 
inary man "whom the lady is concealing, hums his hand I The secret is out, the Counl for- 
gives Suzanne, Saianne forgives the Count, and husband and wife smoke a cigarette together. 
Three of the best airs of the opera are offered — the first being the charming duet of 
Suzanne and the Counl, in which they recall their lirst meeting: the second the Vial coii, in 
which Suzannt entreats her husband not to go away angry: and the last the song of Suzanne 
which telle of the delights of smoking. 

II dolce idillio (Dost Thou Remember?) 

By Geraldine Parrar. and Pasquale Anuto. (/n llallan) 89057 12-ineh. *4.0O 

Via I cosi DOD mi lasciate (Do Not Go Like This) 

By Geraldine Fsrrar. Soprano (.In llallan) 87136 lO-inch, *2.00 

Oh (rioia. la nube legfera ( W^hat Joy to W^atch) 

By CcTBtdiae Famr.Sopraao [In llaban) 68424 12-inch. *3jOO 




SEMIRAMIDE 



TRAGIC OPERA IN TWO ACTS 

Ten by Roaai; music by Gioachino Antonio Roasini. It ia founded on Voltaire'a 
Uagedy Setnlramii. Pint produced at the Fenice Theatre, Venice, Februnty 3, IS23: in 
London at the King'a Theatre, July 13, 1824. In French, aa Stmlramit, it appeared in Paria, 
July 9. I860. First American production occurred in New York. April 25, 1826. Some 
notable American revivali were in 1853 with Griai and Vestvalji; in 1890 with Adelina 
Patti aa SemlramlJe ; and in 1894 with Melba and Scalchi. 

CaK of Chiricteri 
I SEMIRAMIDE, or SEMIRAMIS. Queen of Babylon . . Soprano 
I ARSACES. commander in the Aaayrian army, after- 

rard the son of Ninui and heir to the throne. Contralto 

I THE Ghost of NINUS Baaa 

OROE. chief of the Magi Ban 

I ASSUR. a Prince of the blood royal Baaa 

AZEMA. Princeaa of the blood royol Soprano 

I iDRENUSk of the royal houaehold Tenor 

I MITRANES, of the royal houaehold Baritone 

Magi. Guard*. Satrapa, Slavea 

1'>-|- ■"' ^'■^^1 Seniiramide i* perkapi the fineat of Roasini'a 

f ? I I n^^l <'P«^ ^"^ although it wai a great auccesa in ita day, it* 

fl ^^1 aplendid overture and the brilliant Btl raggio are about the 
'f • ,1 1 only reminder* of it which remain. 

The alory is based on the elaaaic subject of the murder 
of Agamemnon by his wife, called Semlramh in the Babylonian 
version. It i* a work which the composer completed in the 
astonishingly short time of one tnonth. but which shows his 

uiisi A3 SEHiMUIDI The BCtion takes placc in Babylon; Sem/fom/rfe, the Quecn. 

aasisted by her lover Atiar, has murdered her husband. King Ninat, who. in the second act, 
rises in spirit from the tomb and prophesies the Queen's downfall. 

Overture 

By Police Band of Mexico City *S516Z 12-ineh. »I.2S 

By Arthur Pryor's Band 31527 12-inch, l.OO 

The overture opens with an unusually brilliant introduction, followed by a beautiful 

chorale for brass which is one of the most admired poitiona of the work. The familiar 

melody which forms the principal theme of the overture then appears as a clarinet paaaage. 

It begins: 

The finale is rather long drawn out for modem ears, but ii a fine example of ita kind, 
and the overture is a most showy one, vety popular on band and orchestra programs. 
Two splendid records of this famous number are presented here, and a comparison of the 
playing of theae two great organizations is most interesting. 
* DaAk-FaBciRtcord—farmkafaptorilt tUt tei narl page. 




VICTOR BOOK OF THE OPERA— ROSSINI'S SEMIRAMIDE 



ma doniuia. and a brilliuil snd impoaing 



(alien ii 



!cretiy deter, 
ior, with whom ahe has 
n reality her own son. 



Bel Tiggio lusinghier (Bright Gleam of 
Hope) 

By Msrcella Sembrich, Soprino 

(In Italian) 88141 12-inch. *3J>0 



lir'' " 





air in so elaborate a fashion a> to make Further additiona 
imponiblc. But even as left by Ronbi, Bel raggio U not 
lufficiently elaborate to ihow the skill of a Sembrich, 
and the additions with which the Jloa has embellished it 
not only make it more dazzling, but belong alto to the 
true spirit of the air. 

Thus the inapiring declamatory passages, with their bril- 
liant runs, receive a lavish addition of the singer's splendid 
high notes, notably the high B on the alfin ptrmc brlllo, 
■nd the astonishing arpeggio up to C sharp on the dal mio 
pentler which follows. 

The ensuing canlatllt is sung with all the legato and grace 
which it requires, its principal hgure being also additionally 
embellished. 



DOUBLE-FACED SEMIRAMIDE RECORD 



Overture By Police Band of] 
McEJco City I 

Marche Slave iOp. 31) 

By Arthur Pryors Band] 



>3S1«T 12-iach, *1.23 



SIEGFRIED 

MUSIC DRAMA IN THREE ACTS 
Second Open of the Rtuaeffoltl Trilogy 
Words and miuic by Wasner. FirsI produced at Bayreulh, August 16. 1876. It was 
given in French at BtusmU, lune 12, 1891. and sulMequenlly at the Opita m Parts. In Lon- 
don (in English) by the Carl Roa\ Company, in 1896. First American production in New 
York. February I, 1888. ^ 

Ch«r»cccr» 

SIEGFRIED Tenor 

Mime (Af«'-iMc) Tenor 

THE WANDERER (WOTAN) Baritone 

ALBERICH (Ahf^^) Baritone 

FAFNER {Faf-na). BaM 

ERDA (£*,' J.A) Contralto 

BrUNNHILDE (B™.n.A(f-J-A) Mezzo-Soprano 

There is httle of tragedy and much of Ughtnes* and the joy of youth and love in this 

most beautiful of the Ring Cycle, which tells of the young Sleg/rleJ, — impetuous, brave, joy- 
ful and handsome : and BrilmhiUe, the god-like maid^ 

unselfish, lovely, innocent, who finds she is but a woman 

after all. 

After Sicgtinde had been saved from the wrath of Walan 

by BrIinnhAde (related in the last part of tValkare), she 

wanders through the forest and dies in giving birth to the 

child SlegfileJ, who is found and brought up by Mime, the 

Nibbing. 

In the first two acts of Siegfried the hero is shown in 

his forest home, where he mends his father's sword, and with 

it slays the dragon. Having accidentally tasted the dragon's 

blood, he becomes able to understand the language of the 

birds, which tells him of BrOnnhildt, the fair maiden who 

•leep* on the fire-encircled rock. He follows the guidance 
of one of the birds, cuts through 
the spear of Wotan, who endenv. 
ors to stop him. and penetrates 
the flames. On the top of the 
rock he beholds the sleeping 
VaOti/He covered vrith her shield. ••■rL >t ■•>uir 
He removes the armor, and Srfinn- ^itbFiiD.i. and tiif. ewoid 

Mdt lies before him in soft wo. 

manly garments. She is the first woman he has ever seen, and he 
kneels down and kisses her long and fervently. He then starts 
up in alarm; BrOnnhildt has opened her eyes. He looks at her in 
wander, and both remain for some time gazing at each other. She 
recognizes him as Siegfried, and hails him as the hero who is to 
save the world. This part of the trilogy ends in a splendid duet. 

ACT 1 

SCENE— ,4 fores/. Al One Side a Caoe 
Mime, the NiUung. brother of Alterlch, found Slegtlnde in the 
forest after she had escaped from fVolan, and brought up her 
child, knowing that it was Siegfried, who was destined to kill Fcffntt 
and regain the Ring. The opera opens with an air by Mime, who 
is discovered at the anvil in his forest smithy trying to forge a 
■word for Siegfried. 






Siegfried and the Drifor 



VICTOR BOOK OF THE OP ER A— WAGN ER'S SIEGFRIED 

Zwan^olle Pla^e I (Heartbreakiii(f 
Bondage) 

By Albert ReU*. Tenor 

(/n German) 74235 12-uich, ll.ftO 

Mr. Reiss' wonderEul character itudy of Mime, the 
dwarf, ha* been one of the moat impressive features oi 
the Metropolitan performancea during the past few | 
years. His impersonation gains each year in the sar- 
donic and malignant side of Mime'i nature, but is always 
amusing, nevertheless. The BitiRt'a portrayal, dramatic- 
ally and vocally, leaves nothing to be desired, and in 
ihe episodes where the dwarf is most abject and fawn- 
ingly malicious he is superb. 

Sitg/rltd, in forest dress, with a horn around his 
neck, bursts impetuously from the woods. He ia driv- 
ing a great bear and urges it with merry roughness to. 
wards Mlmt, who drops the sword in terroi and hides 
behind the forge. Taking pity on the frightened dwarf, 
Siegfried drives the bear back into the wood, and seeing 
the sword, breaks it over the anvil, as he has broken all 
of the others. He questions Mime about his childhood. 

and the dwarf tells him reluctantly about his mother j_ ,„ 

and about the sword his father had broken in his last sdigi-bied, hiue and the 

fight. Siegfried demands that Mime shall mend his seas— act i 

father's sword without delay, and goes back into the forest. 

Wolan now enters and in answer to Mhne'i questions saya he is the Wanderer, and apeaks 
to Mime of the sword, telling him that only he who know* no fear wilt be able to forge the 
broken weapon. After the Wanderer has departed, Siegfried returns, and Mime, who is now 
beginning to be afraid of the youth, tells him that it was his mother's wish that he should 
" What is this fear ?" says Siegfried, and Mlmt attempts to describe it. 





BaleFutkM 



r thy faniv? 



Uiets s\ 



grisly B 



Alherlch wakes the Dragon and offer. 



e thy whole body. 

In thy breast bursline and big 
ncM thy hammering heart? 
STu/Wr/ regretfully admits that he has never fek 
any such sensation. Mlml, in despair, then tells him 
of the Dragon which dwells near by. Siegfried eagerly 
aaka Mime to conduct him hither, but says he mual 
have hU sword mended first and. when Mime refuses, 
he foTgea it himself. When it is finished, to try the blade, 
he strikes the anvil a mighty blow and split* it in half, 
while Mbne falls on the ground in extreme terror. 
Siegfried brandishes the sword and shouts with glee 
as the curtain falU. 

ACT II 
SCENE— TAe Dragon'i Caee In the Foretl 
Fqfner, who has changed himself into a dragon, 
the better to guard his gold, dwells within a cave, keep- 
ing constant watch. Alberich ia spying near by, hoping to 
regain the treasure by killing the hero whom he 
know* will overcome the Dragon. TTie Wanderer en- 
ter* and warns Jilberich of the approach of Siegfried. 
"' ' for the Ring. Fo/ner contempt- 



VICTOR BOOK OF THE OPERA— WAGNER'S SIEGFRIED 



The young hero, left alone, sitm down under ■ tree and 
meditates about hia mother, whom he picture! as gentle and 
beautiful. His dreaming is ended hy the song of the bird*, and 
he regret! that he cannot understand their language. He answers 
thrir song with a blast of his horn, which disturbs Fafntr and the 
Dragon utteia an awful roar, which, however, only makes the 
youth laugh. The Dragon rushes upon him. but Siegfried jumps 
aside and buriea his faithful sword in the reptile'a heart. 

Having accidentally tasted of the Dragon's blood by carrying 
his stained hand to his lips, he linds to his aatoniahment that he 
ia able to understand the song of the bird, which tella him to go 
into the cave and aecure the Ring. Siegfried thanka the warbler 
and goes into the cavern. Mime come! back and. seeing the dead 
Fafntr. is about to enter the cave when Alhtrlch stopa him and a 
heated argument occurs. This scene has been given for the 
Victor by two celebrated impeisonalora of these rAlea. Goritz and 
Reiss. 



Wohin schleichat du ? O^hither Slinkest 
Thou ?) 

By Otto Gori». Baritone, and Albert Reiss, Tenor 

{In German) 64219 lO-Jnch. *1.00 










lust 


form; 
posit io 


■ goods? 

n! Thi!i 1 
)u here? 


H.lion ii 


, n,in,. 


uJ? 


1 h 


lave !l.i 


I from sir. 
■ pcd with 


.llhy concer,,*. II 


Or"'ch 


B 


■d'it w 


robbed th, 


^ Koldcr. 
ind Choi. 


"ZZ 


By'lh 


ior^. t.. 


.:::t 


*hich 1 


o all fo. 



WhJl could*! thou ere. tool. 

Ry thyself have raneied and fashioned? 

The magic Ring made the dwarf meet for the 



Shalt thou, booby, be bettered? 

Thou shall haw i1 nut. 

" :is liolder in truth is be. 



I hi> nurse now shall h 



VICTOR BOOK OF THE OPERA— WAGNER'S SIEGFRIED 



Would this btggarly. niggardly b 

Ite well nigh aV'i king? 

To nnkrst or doge booletta Ihe 

Far rather than <W: 



Ring. 

I. and yet hail me as a brolhec: 



Twin wc Ihc booty like thiii. 
Albikich (laufhimg tcormfully) : 



Nought talk we of shares! 
Siegfried, the caustic boy. 
Shalt crush Ihcir. brolher of minel 



Ave. and the Ring!— 
(lyitk on «■(; lauffh): 
Let him Ihe Ring to the 
I ween full soonT shall 



aie disapptari in the clefl.) 

They hide then»elve« ai SitgfrleJ comes (rom the cave with the Ring, ihe value of 
which he doei not ye* comprehend. The bird's voice is asain heard explaining its history, 
and revealing the intended treachery of Mime, When the dwarf approBches, Slegfrltj 
is able, by the magic of the Ring, to read his thoughts. Horrified to learn that Mime is plan- 
ning to kill him, he strikes down the dwarf and throws his corpse in the cave, rolling the 
body of the E>raaon before the entrance. 

Weaned by his adventures, Siegfried reclines under the tree and asks the bird to sing 
again. This time the songster reveals to him that Brilnnhllde lies sleeping, waiting for the 
hero who is able to reach the fire-encircled spot. 




lle^J^^Sjegfricd has 



him now a glorious wife. 
] fasln«s sTie sleeps, 



WakV.TX'^th. 



inhilde 



] by fait 



Itm by h 

He laughs with delight, sa)nng, "Why, this stupid lad who knows not fear, — it is ll " 
and follows the bird, who flies ahead to guide him to Briinnhilde'i liery couch. 
ACT III 
SCENE— ^ WlU Region at Ihe Fool of a Roda, Moualain 
The act opens with a long scene between Eida and IValan. The god summons his 
earth goddess wife and tries to consult her regarding the coming deliverance of the world 
through Siegfried and Brllnnhllde. The goddess, however, is confused and bewildered by 
ffofan't eager questions and fails to give counsel, asking only to be allowed to return to her 
sleep. Wolan, wearying of the struggle against fate, renounces his sway over the world, 
realizing that the era of love must supplant the rule of the gods. 



VICTOR BOOK OF THE O PERA— WAGNER'S SIEGFRIED 




SleafritJ BF 
ta bar nig way 
The youth, how 
■weary god, ah. 
stroke, and 






iie* and fVotan 
final trial of hie courage, 
malcei short work of the 
his apear at a nngle 
on hit way singing; 



Ha! Heavenly glowr brightening glare! 
Roadi are now opening radiantly round r 
In lire will 1 balhe. 
TlirouEli fire will I (are lo my bride! 
Oho! Oho: Aha! Aha! Gailv! Gaily! 



As the hero plunges fearlessly through the 
£re the flame* gradually abate, and when he 
reaches the sleeping Btllnnhildt th^ 

Siegfrie.- 



aidenwithaw. 



andrt 






3ve> her hell 






He is speechless with admiration, a 
asks if the strange emotion which he teejs can 
be fear. Finally, when he preaaea an ardent kiss 
on her lips she awake* and greets him joyfully 
as the hero Siegfried who is to save the world. 
After a long scene in which Siegfried's ardent 
wooing is gently repressed hy BiHnnhlldt, he 
finally aeize. her in hi. arms. Frightened, she 
repulses him, crying: 

No god e'en has touched me: 
As a maiden ever heroes revered me: 
Virgin I hied from Valhalla!— 
Woe's me! Woe's me! 
Woe for the shame, the shunless disgrace! 
My wak'niag hero deals me this wound: 
o be his bride, but she begs him to spare her in 



Ewi2 war Ich (Deathless 'Was I) (Brunnhilde'a Appeal to 

Siegfried) 



By Johaan* Gsdski. Soprano 



I>e3Ihless lo 
Hut Ilea t hies: 
O Siegfried, 



(/n German) 8S186 ll-inch, tS.OO 






not with Ihy tonquering might! 
Ihy face in crystal floods? 
lladden thy glance? 



Fair and lovely, my lord:- 
O Siegfried! Sieriried! L 



But the impetuous hero resumes hii wooing, and love finally 


C*n. 


Past all Ihal breathe ! Far hence, Walhall' 1 
r.Iadly love dn I glow with. Ut fall Ihy siructur. 
Gladly yield to thee blindly. Farewell, grandeur i 
and throws har^lf into Slcg/rledS arms as the curtain falU. 


ea!™ 



MISCELLANEOUS SIEGFRIED RECORDS 
Sie^ried Faatasie By Souss's Band 31621 12-inch, 

A superb record of some of the moat famous portions of Wagner's great r 




SNEGOUROTCHKA 

(Fnnch) (Enfluh) 

LA FILLE DE NEIGE THE SNOW MAIDEN 

OPERA IN FOUR ACT8 AND A PROLOGUE 

Text by Ostiovaky, based an the old folk-lote tale of ihe Snow Maldtn. Mutic by 
Nicolai Andreyevich Rimiky-Korukoff. Fiial production St. Petenbutg, Maich, IB82. 
Produced at the Private Open, Moacow, I9t I. In Paria, at the Op^a Comlqae, June, 1906. 
The work has not yet been given in America. 

Character* 

SNEGOUROTCHKA. the Snow Maiden Soprano 

MlSCUIR. her lover Baritone 

Shepherd LEHL Contralto 

Czar BERENDEY., , , .'. Tenor 

BOBY Baaa 

BOBYLYCKA, hii wife Soprano 

KOUPAVA betrothed to Miaguir Contralto 



Tht Ktnt is laid In BcBenJty, an imaginary pmeinct of Ruaii 



VICTOR BOOK OF THE OPERA— THE SNOW MAIDEN 

ThoH who have enjoyed Mme. Gluck't beautiful inler- 
pietation of The Snoa Maldtn air will like to know aomething 
of this Rusaian opera, and we therefore give a brief sketch of 

The opera abounds in picturesque scenes, repiesenling 
Winter and Spring, and the poetic little story is supposed 
to take place in the happy country of Berendey, an unknown 
province of an imaginary Russia, ruled by a benevolent 
old Cisr who has devoted his life to the happiness of his 
people, governing his kingdom by the law of love. 

The beautiful, unknown Sntgoarolch^a, daughter of old 
Winter and the fairy Spring, it found one cold morning by 
some villagers, abandoned in the forest, and the old drunkard, 
Bciy, and his wife. Botj/lj/cka. adopt her without knowing 
her parentage. Mliguir, a merchant, falls in love with her, 
abandoning his sweetheart Koupaoa, but Sntgoarolchlia, as her 
name indicates, is made of ice, and her coldness and indif- 
ference discourage all the young men who are infatuated 
with her beauty. Even the handsome shepherd Lehl, who 
sings such wonderful songs, gives up in despair and offers 
his heart to Koapaaa. The old Czar is grieved that this cold- 
ness has entered his kingdom, and offers the hand of the 
Snm Maiden and a handsome gift besides to any one who 
can win her love. Snegoarolcliko 6nds it impassible to love, 
and appeals to her mother, the fairy Spring, who invokes the 
aid of the flowers — the carnation lending its grace, the rose its 
heart and the jasmine its languor. This influence gradualh' 
touches the heart of the Snoii> Maiden, and she finds herself 
ne Mliguir. They both attend the festival of lovers and present 
the good Czar as a betrothed couple. But. alas, at the first kiss from her lover 
snowflake melts and disappears, while Mfigufr, in despair, throws himself into the river 
a dainty little shepherd song is the gem of the opera — a tender, melodious air which 
jck sings exquisitely In perfect English. 

of the Shepherd Lehl 

y Almi Cluck. Soprano {/n EnglUh) 64209 10-inch. (LOO 




'e with the handso 



Miss Gil 

Sona 






1 



(Itdiu) <En«llih) 

LASONNAMBULA-THE SOMNAMBULIST 

OPERA IN THREE ACTS 

Libretto by Felice Romani; muiic by Vincenzo Bellini. Produced at the Ttalm Carcano, 
Milan, Maich 6. 1831 : Parii, October 28, 1831 : and at the King's TheBtie. London. July 28th 
of the Mme yeac. At Diury Lane in English, under the Italian title. May 1. 1833. First 
pcfforraance in New York, in Engliih. at the Park Theatre, November 13, 1835, with Brough, 
Riching.. and Mr. and Mra. Wood. Fir.1 performance in Italian in New York. Palmo'i 
Opera Company, May 1 1, 1844. Revived in 1905 at the Metropolitan with Caruso, Sembrich 
and PUnfon; el the Manhattan Opera, 1909. with Tetrazzini, Trentini, Parola and de 
Segurola. 



Chirac tera 
COLff^ RUDOLPH lord o( the village 



..Baaa 



TERE3A, milleress Meno-Soprw.- 

AMINA, orphan adopted by Teresa, betrothed to Ellvino Soprano 

ELVINO. wealthy peaunt Tenor 

Lisa, inn-keeper, in love with Elvtno Soprano 

ALESSIO, peawmt. in love with Lisa Bass 

A Notary Tenor 

Peasants and Peasant Women. 



T^« 



(9 lalJ in a Stela elllagt. 



How our grandfathers and grandmothers doted on this fine old opera by Bellinil In 
the 'JCs it was a novelty by a young and gifted composer; by IS50 it we* part of every 
opera seaaon and shone through a halo of great casts — Malibran, Pasta, Jenny Lind. Gerster. 
Oimpanini, Grisi — and in the *60's and '70's it continued to be popular. Then came the 
Wagnerian era, and the pretty little pastoral work was all but forgotten. 

Now. however, Italian opera of the old-fashioned kind has begun to be appreciated once 
more, and even the Wagnerites admit that there may be some pleasure in witnessing this 
charming little work. 

ACT! 

SCENE— ^ yillage Green 
The peasants are making merry in honor of the marriage of Amina and Eldno. Llia, 
the hostess of the inn, enter* and gives way to bitter reflections. She also loves Elolna, and 



VICTOR BOOK OF THE OPERA — LA 50NNAMBULA 



her jealousy finda eipreaaion in a meloiiious air, Soandt So Joyful. Altuh, a villager wKo 
fanciea Lisa, tries to console her, but she repulses him. Amina and her friends enter, fol- 
lowed soon after by Eliiino, and the marriage contract is signed. Elnlno places the ring on 
his bride's finger, and they sing a charming duet. Take New Thh Ring. 

Prendi I'anel ti dono (Take Now This Ring) 

By Maria Galvany and Fernando De Lucia (/n Italian) 89049 12-iaeh. *4.00 

By Emilio Perea, Tenor (/n llaltan) *62092 10-inch, .79 

Two renditions of this number are given here, the Perea record including only 

Eielno't solo at the beginning of the duet. The words are not given, being merely a auc- 

cession of Sowery phrases to which Bellini has written his delightful melodies. 

The nuptial celebration is interrupted by the sound of horses' hoofs, and a handsome and 
disdnguiahed stranger enters, inquires the way to the castle, and learning (hat it is some 
distance, decides to remain at the inn. He looks around him, appearing t( 



« his fine 



-, f/« 



Vi rawiso (As I View These Scenes) 

By Perello de Sc^rola. BaM 
(In Italian) *62092 10-inch. tO.Ti 

As r view the Kent, hoH familiar that mill- 
Oh rfmfmbrancF o 



Wh. 



...„ .... and banishU' 

:hil<lhi>Dd urencl; glided. 



lerc my childhood urenely 
. lere the joyous moments flc . . 

Whilelhose days nougbr can reiiewl 

The stranger inquires the reason for the 
festivities, and is presented to the pretty bride, 
in whom he is much interested. He tells the 
peasants that in his childhood he lived with 
the lord of the caatle, and now brings news 
of the lord's only son, who disappeared some 
years since. 

Amina't mother, TtKia, now says that as 
night is falling they must go within, tm the 
phantom may appear. The stranger is told 
that a spectre has been often seen of late, and 
he BCoSs at the tale, but the peasants, in an 
effective chorus, describe the appearance of 
the ghost. 

Ah 1 fosco ciel I (When Daylight's Going) 




(/n Italian) *62642 lO-inch, fO.75 



Plainly c 






^rm"™ goa!i"5'I''lo"friBli'len''yo'ulh,'* 



all have »«n il. in very Irulh. 
whercsoevci its pathway faiklh 
ideous lilencc all things appalleth; 
leaHel trembles, no lephyr rambl«, 

fiercest watchdog ean nouaht but cower, 
lUle true witness of its feU power. 
screech-owl ihritking, her haunt seeking 
from the ghost her dark wing wheels. 



What bidden a 

The stranger now desires to retire and is shown to his room. Amino and Etolno reim 
and the latter reproaches his bride for her interest in the guest: but at the sight of her ti 
he repents his suspicions, and the act closes with a duet by the reconciled lovers. 
■ Doutle-FaaJ RccorJ—Fcr tOk tf BPIMillt dJt mt Sil an liait 410. 



VICTOR BOOK OF THE OPERA— LA SONNAMBULA 

ACT II 

SCENE — The Apartment of the Stranger 

The guest muses that he might have done worse than stop at this little inn — ^the people 
are courteous, the women pretty, and the accommodations good. Lisa enters and asks if he 
is comfortable, calling him ** my lord,'* the villagers having suspected that he is the Count 
Rudolph. 

The Count, although somewhat annoyed that his identity is revealed, takes it good, 
naturedly, and even flirts a little with the buxom landlady. She coyly runs away, dropping 
her veil as she does so. 

Amina now appears at the window, walking in her sleep. She unlatches the casement 
and steps into the room, saying in her sleep, **Ellvino, dost thou remain jealous? 1 love but 
thee.** The Count is at first astonished, but soon sees that the young girl is asleep. Just 
here Lisa peeps into the room, and seeing Amina, runs otf scandalized. Amina, in her 
dream, again goes through the marriage ceremony, and entreats Elvino to believe that she 
loves him, finally throwing herself on the bed in a deep sleep. The Count is somewhat 
puzzled at the situation, and finally deciding to leave the young girl in possession of the 
room, goes out by the window. 

Eloino and the villagers, who have been summoned by Lisa, now enter and are aston- 
ished to see Amina asleep in the Count's room. She wakes at the noise, bewildered, and 
runs to Eloino, who repulses her roughly. She is met with cold looks on every hand, and 
sinks down in despair, crying bitterly. Rousing herself, she begins the duet, D'an pensiero. 

D'un pensiero (Hear Me Swear, Then) 

By Giuseppina Hu^et, Soprano ; Aristodemo Giortfini, Tenor ; 

and Chorus {In Italian) 88255 12-inch, $3.00 

Amina: Elvino: 

Not in thought's remotest dreaming, Hcav'n forgive ye, this guilt redeeming; 

Was a crime b^ me intended: May thy breast be ne'er thus rended; 

Is the little faith now granted. With what love my soul was haunted. 

Fit return for so much love? Let these burning tear-drops prove! 

Finding all turned against her except her mother, she runs to the maternal arms, vrhile 
Eloino rushes from the room. The curtain falls. 

ACT III 

SCENE \—A Shady Valley near the Caaile 

Amina and Teresa enter on their way to the castle to plead with the Count to clear the 
girl's good name. Seeing Eloino, Amina makes another etfort to convince him she is still 
true, but he reproaches her bitterly, takes the ring from her finger, and rushes away. 

SCENE II— .4 Street in the Village. Teresa 's mill on the left 

The villagers enter and inform Lisa that Ehino has transferred his affections to her. He 
enters and confirms the good news, and they go toward the church. The Count stops 
them, and assures Eloino that Amina ie the victim of a dreadful misunderstanding. Eloino 
refuses to listen to him and bids Lisa follow him to the church, but they are again inter- 
rupted by Teresa, who has learned of the proposed marriage, and now shows Lisa*s veil 
which she had found in the Count's room. ** Deceived again," cries Eloino, and asks if any 
of these women are to be trusted. 

Rudolph assures him again that Amina is guiltless, and Eloino desperately says, *' But where 
is the proof?*' '* There,*' cries the Count, suddenly pointing to Amina, who in her night 
dress comes from a window in the mill roof, carrying a lamp. All watch her breathlessly, 
fearing to wake her lest she fall. She climbs down to the bridge over the wheel, and de- 
scends the stairs. 

Amina {advancing, still in her sleep, to the mid- iAmina, clasping tier hands on her bosom, 

die of live stage) : takes from it the flowers given her by 

Oh, were I but permitted Elvino in the first Act.) 

Only once more to sec him, Amina: 

Ere that another he doth lead to the altar 1 Sweet flowers, tenderest emblems, 

Rudolph Uo Elinno)'. Pledging his passion, from ye ne'er will I 

Hear her — sever. 

Tekesa: Still let me kiss you — 

She is thinking, speaking of thee! But your bloom is fled forever! 

The first of the two lovely airs for Amina in this act now occurs. 

409 



VICTOR BOOK OF THE OPERA— LA SONNAMBULA 



Ah I non credea mirarti (Could I Believe) 

By Luisa Tetrazzini, Soprano (In Italian) 88305 12-inch, $3.00 

By Graziella Pareto, Soprano (In Italian) 76003 12-inch, 2.00 

By Alma Gluck, Soprano {In Italian) 74263 12-iAch, 1.50 

Perhaps the most elective part of the opera lies in this sleep-walking scene, when Amino* 
in a state of somnambulism, walks along the roof of the building, and finally climbs down to 
the ground. This act establishes her innocence, and clears up a mystery which had caused 
her good character to be doubted. 

Ah I non credea is sung by the sleeper as she descends from her dangerous position, 
while her lover and friends watch in terror, fearing to awaken her. It opens with a beauti- 
ful cantabile in the key of A minor, its pathos being fully in keeping with the plight of Amino, 
who, being discarded by her lover and doubted by her friends, weeps over her short-lived 
love and happiness. At the words ** Potrio novel oigore, " the pathetic note gives place to a 
more ardent emotion, as hope is mingled with her despair. 

Regarding the (lowers which her lover had given her, and which are now faded, she 
exclaims : 



Amina: 

Ah ! must ye fade, sweet flowers, 

Forsaken by sunlight and showers, 
As transient as lover's emotion 

That lives and withers in one short day! 



But tho' no sunshine o'er ye, 
These tears might yet restore ye. 

But estranged devotion 

No mourner's tears have power to stay I 

-From tlie Dltaoo Kdition. 



The singer's aim has been to illustrate the simple charm of the character of Amina and 
the pathos of the scene, rather than exhibit brilliance of ornament. The cadenza at the 
close, although typical of Tetrazzini's marvelous powers of execution, is well subordinated 
to the character of the song, and pleases as much by its delicate beauty as by its amazing 
technical perfection. 

Elvino can restrain himself no longer, and rushes to Amina, who wakes, and seeing 
Eloino on his knees before her, utters a cry of delight and falls in his arms. 

The opera then closes with the joyous, bird-like air. Ah I non giunge, which is a fitting 
close to this charming work, with its graceful and tender music and peaceful pastoral scenes. 
In Amina, Mme. Tetrazzini finds a most congenial rdle, and for her sake alone Sonnambula 
would always be worth hearing. She has the voice, style and technical skill to make such 
music as this captivating; while Sembrich's impersonation of the ingenuous village beauty, 
who is all liveliness and joy, leaves nothing to be desired. Hers is a graceful and natural 
impersonation, and the delightful sleep-walking scene is given with a delicacy which is 
admirable. 

Ah, non giunge (Oh Recall Not One Earthly Sorrow) 



By Luisa Tetrazzini, Soprano 
By Marcella Sembrich. Soprano 
By Edith Helena, Soprano 

Amina: 

Do not mingle one human feeling 

With the rapture o'er each sense stealing; 

See these tributes, to me revealing 

My Elvino, true to love. 



(In Italian) 88313 12 -inch, $3.00 

(In Italian) 88027 12-inch, 3.00 

(In English) *350b7 12-inch, 1.25 

Ah, embrace me, and thus forgiving. 
Each a pardon is now receiving; 
On this bright earth, while we are living, 
Let us form here a heaven of love! 



(Curtain.) 



DOUBLE-FACED SONNAMBULA RECORDS 

/Ah, non giunge By Edith Helena, Soprano (In ^'^gil'h)^^^^^^ 

\ Rigoletto — Caro name By Edith Helena^ Soprano (In Ertglish) j 



12-inch, $1.25 



Vi ra vviso (As I View These Scenes) 

By Perello de Setnirola, Bass 
Prendi Tanel ti dono (Take Now This Rin^) 

By Emilio Perea, Tenor 

Ah! fosco ciel! (^Wlien Dayli^ht^s Goin^) 

By La Scala Chorus 
Lohengrin — Coro Nuziole 



(In Italian) 
(In Italian) 

(In Italian) 



62092 10-inch. .75 



62642 10-inch, .75 



By La Scala Chorus (In Italian) 
410 




CONTES D'HOFFMAN 

(Kahnt 1>eff'-maM 



(Englwb) 

TALES OF HOFFMAN 



(Gin 



HOFFMAN'S ERZAHLUNGEN 

(A Ir-tt^'Joont-titl 

OPERA m THREE ACTS 

WITH PROU>GUE AND EPILOGUE 
Text by Jule* Barbier. Music by Offenbach. FirM perfonnance in Paris, February tO, 
- "■ ^- ■"• , . ^ ^.. . -^ " vived 



The Poet Hoffman Tenor 

NICLAUS, hi» friend , . , , Soprano 

OLYMPIA. 1 

ANTOMA,*' 1 ''"= ™'^'" '"^™ "''''' '^^'"" ""*'""" f-"« '" '*»" Soprano. 
Stella, J 

COPPEUUS. 1 , . _ m .L .1 II 

niPFHTI rrm I "" opponenta. (The»e three r6le« are usually sung 

M^Le/^' I ^^ '^' •""' ""'"' Baritone 

LLfTHEB. an innkeeper Ban 

SCHLEMIL, Giulietta'i admirer BaM 

SPALANZANl, an apothecary Tenor 

COUNaLLOR CRESPEU father of Antonia Baaa 

Offenbach's delightful and fantastic apira camlqat, first produced at Paris in 1681, has 
been a success wherever performed, although it was tabooed in Germany for many years 
after the disastrous fire at the Ring Theatre in Vienna, which occurred during the presenta- 
tion of the opera at that house. Its American successes are familiar to opera-goers, 
especially the brilliant and altogether admirable Haromerstein production, which drew large 
and delighted audiences for several years. 



VICTOR BOOK OF THE OPERA— TALES OF HOFFMAN 



This introductory scene occurs ii 



u 


Sl^ 






^^■Mi 





resort. Hog man. 
the favorite of all. 
enter, with hi. 
friend Nicholat and 
joini in the merry, 
making. In response 
to call* for a song, 
Hoffman sings the 
Ballad of Kldn-Zach. 

love affairs. This 



u1 ii 



celed 



enthusii 
and us Hoffman be- 
gins by saying "The 
name of my Brst was 
Olympia," the cur- 



SpalanxarA. a wealth; 



I. a wealthy n 
melons mechar 



ACT 1 
in with a mania for automatons, has per- 
::al figure of a young girl which he calls 
Olympia, pretending it is his daughter. Hoffman and Nicholas call upon 
him, and during Spalamanl't absence, Hoffman discovers Olymplo, and 
falls in love at sight. Unable to lake his eyes from the doll-like per. 
fcclion of the figure, he expresses his infatuation in a beautiful air. 

C'est elle ("Tis She !) 

ByCharlesDalmores, Tenor (/nFrencA) B7089 10-inch, »2.00 

Dalmores makes a great success in ihe part of Hoffman. This r4le 

calls for a handsome appearance, a gallant bearing, and enduring vocal 

powers, and this tenor fills these requirements admirably. He sings this 

beautiful air with graceful fluency and much warmth of tone. 

Nicholai tries in vain to prevent his friend 
from making a fool of hinuelf. hut Hoffman. 
owing to the magic glasses Spatanzanl has in- 

instead of an automaton; but is undeceived 
when he dances with the figure and she falls 
to pieces before his astonished eyes. 

ACT II 

This adventure concerns the Lady Glutlttia, 
who resides in Venice. Among her many olvupi*. thk 

friends are Hermann and Nathaniel, and the "='="'"""'- ""• 
latter, fearing the po^ver of the lovely coquette, tries to get 
Hermann away, but he insists that he is proof against her fascina- 
tions. Daperiulto, the real lover of the lady, hearing (his boast, 
induces Gialicila to try her arts on the young man. She suc- 
ceeds, and Hoffman, madly in love, challenges Qialitlta 't protector, 
Schtcmil, and kills him in a duel. Hoffman rushes back 
charmer's residence only to find thai she has fled with her < 
admirer. 

This 





hU 



VICTOR BOOK OF THE OPERA — TALES OF HOFFMAN 




Barcarolle— Belie Niut (Oh, Night of Love) 

By Geraldine Farrar and Antonio Sootti Un Italian) 87902 10-inch. *3.00 

By Lucy Marih ami Mar^erite Dunlap (In Engtiih) 60096 10-inch. .79 

By Mr. and Mra, ■Wheeler (D«iii!-f«<J-Sw (..-*;•*) (EnffM) 16827 10-inch. .79 



I. with duet 



o violins 



By the Victor Orchi 
By the Vienna Quartet 
Tliia popular Offenbach number, which u given u a d 
aftenvardi aa an inatrumental intcTmezzo, in one of the best knt 

^^ A> the name impliea, it woa orisinBlly a song 

^^k Venetian gondolier*. 

T5 The muaic 

^4^ in 6-8 time, 

portray* ad- 
mirably the 

the boat 

nd its dreamy melancholy auggeata the calm 
ight. 

O NKkt of Lava 

Drauirous night. O night of tave, Far aw: 
enchantment; For tin 



the Venetian Kene and 

ample* of the tarcanlh. 

■ chant uied by the 








Radiant nijtht, wit 

() brauttous night oF love! Shed on ns thy carFs-.v<— 

Flming lime ifolh ne'er return Night of love, O nieht of love: 

In this act ia abo the air aung by Daperiulta to the aparkling dia. 
mond. whiLh he say* never yet failed to tempt a woman. 

Air de Dapertutto {Dapertutto's Air) 

By Marcel Journet. Baas (In French) 74103 12-incli. fl.90 
Joumel delivers thi* aong of the swaggering, garrulou* Venetian 
bravo with much apirit. 



VICTOR BOOK OF THE OPERA— TALES OF HOFFMAN 



The third ndvei 
German home where Anlonla, 
of consumption. She ia forbid di 
Dr. Mitack. whc 



ACT III 

e of Hoffman introduce* u* to an 

young singer, hai become thi 

sing by her father, 

of the family, Svenf 



Romance— EUe a fui (The Dove Has Flown) 

By Franccf Aids. Sopraao 

(In French) 88399 H-inch, I3.00 
The pathetic air lung by the unfortunate j^ung singer, ^nlonia, 
whose life is finally sacrificed to her art. 

THE EPILOGUE 

The epilogue shows again the tavern of the prologue, where 
Hoffman is apptuently just concluding his third tale. Having tried 
three kinds of love — the love that is inspired by mere beauty, the 
sensuous love, and the affection that springs from the heart — he says 
he has learned his lesson, and will henceforth devote himself to art. 
the only mistress who will prove faithful. He bids farewell to anothei 
of his flnmes. Stella, an opera singer, and as the curtain falls is left 
alone, dreaming, while the Muse appear* and bid* him follow her. 

MISCELLANEOUS HOFFMAN RECORDS 
Gem* front Tale* of HoSman 

Choru*, "Our Good Host" — Solo, "Song of Olympia" — Chorus, "Hear 
Hira Hi* Tale* Disclose "—Solo. "Ah, Now Within My Heart "■—Barcarolle, 
"Oh, Night Divine— Chorus, "See She Dances" —Finale. "Fill Up Our Glasse* " 
By Victor Light Opera Company (In Ertglith) 3IB99 12-ifich, »1,00 

(Gem* from Tale* of Hoffman Victor Opera Companyl_,_»_ , - - . , _- 

■' - -.. I/i,i„r/;=(.rn»-,„r™^„„f33337 12-inch. 1.2S 



Gtmafrom Mlgnon 
Cootc* d'HoSbun Selection 

farcsrollc^O. Night of Love 
F<ainUza SeltcUon (eon Suppe) 



Bll Victor Ugh( Opera Cimpaniif'' 
By Victor Concert Orch. 3 1 820 
By Mr. and Mrs. "Wheelerl , - ,n-™„K »» 







TANNHAUSER 

(Tahi/ Jicvxtf) 

ROMANTIC OPERA IN THREE ACTS 

Words and music by Richard Wagner. First presented at the Royal Opera, Dres 
October 20, 1845; at the Grand Opera, Pans. March 13, 1661. First London productic 
Covent Garden, in Italian. May 6, 1S76. First performance in English took place at 
Majesty's Theatre, February 14, 1882. First New York production Apnl 4, 1839. 

Characters 

Hermann, Landgrave of Thunngia BaM 

TANNHAUSER. | ( Tenor 

Wolfram von Eschenbach, Baritone 

WaLTHER von DER VOGELXCEIDE, 1 u- _ 1 I- l. I Tenor 

BITEROLF. I M"»W«' Kn'ahts j g^ 

HEINRKH DER SCHREIBER. Tenor 

REINMAR von ZWETER, ) I Bas* 

EUZA^TH, Niece of the Landgrave Soprano 

Venus Soprano 

A Young Shepherd . Soprano 

Four Noble Pages Soprano and Alto 

Chorus <^ Thuringian Nobles and Knighls, Ladies. Elder and Younger 
Pilgrims, and Sirens, Naiads, Nymphs and Bacchantes. 

Sreim anJ Period : VlcMly of Bitnach ; heglnning of the ihlrletnlh crnfuiv. 



VICTOR BOOK OF THE OPERA— WAGNER'S TANNHAUSER 



SannMiifrr 

hr ai^ fnr^fliifa&irlSirg. 



THE STORY 

Tkere nre a great many people who like to go to the 
opera, but who do not care for Wagner's Ring Opera*, with 
their Teutonic mythi and tegendi, and their long and aoRie- 
bmea undeniably tedioua icenes. But Tannhaaaa, with its 
poetry, romance end paision, and above all its characters, 
who are real human beinga and not myaterioui mythological 
goda, goddesaea and heroes, appeals strongly to these opera- 
goers. *^__ --- 

To show the wonderful vogue oF this work, it ia esd. ^.^ c,— ^ 

mated that more than one thousand performances of the ■ -. — _ .'":1Z ^^^1.-m-— 

opera take place annually throughout the world. ••^■.~, ~ -^•ir '- ^' Ig Mfemi 

The story is quite familiar, but the chief events will be '" ' ■,..^' ii^JIJ^ST"^^ 

noted here in brief. It telU of conflict between two kinds 'i':-''.-/^^^- '"i" 

of love: true love of the highest human kind as distin. ^T'^;^r = ~f' : 

guished from mere sensuous passion: a"d relates how the y\:"~ 

higher and purer love triumphed in the end. | ~S.i-i^J'CU-.^.=^^^~'-'^~ 

TannhBaier, a knight and minatrel, in an evil moment, l'."£V:i*T.'~_r.'.r"i/:"-ir^-" 

■uccumba to the wiles of Vtma and dwells for a year in fr*-f. " »'- ■--^V ^y.^'eg ' 

the Venusberg. Tiring of the«: monotonous delight., be ]_ ^^*^^- — .— «-«■* \ 

leaves the goddess and returns to his home, where he is i-issi tMoatxu of lAHNBiusBS, 1845 
warmly received and told that the fair Etizahelh. niece of 

the LanJgrmt, still mourns for him. hie is urged to compete in the Tournament of Song 
not far distant, the prize being the hand of ElUabtlh, The theme of the contest is The Nature 
of Love, and when TannhSuter'$ turn arrives the evil influence of the Venusberg is appa- 
rent when he delivera a wild and profane eulogy of passion. Outraged by this insult the 
minstrels draw their swords to slay him. Coming to his senses, loo late, he repents, and 
when a company of Pilgrims pass on their way to Rome, he joins them to seek pardon for his 
sin. In the last act we lee Eliiabtth, weaiy and worn, supported by the noble Wt^imn, who 




VICTOR BOOK OF THE OPERA— WAGNER'S TANNHAUSER 

also loves her, watching for the Pilgrims to return, but Tannhduser is not among them. 
Elizabeth is overcome with disappointment and (eebly returns to her home. 

Tannhduser now appears, in a wretched plight, on his way to re-enter the Hill of Venus. 
He tells IVoffram that he appealed to the Pope for pardon, but was told that his redemption 
was as impossible as that the Pope's staff should put forth leaves. Wolfram *s remonstrances 
are in vain, and Tannhduser is about to invoke the goddess, when a chant is heard and the 
Pilgrims appear, announcing that the Pope's staff had blossomed as a sign that the sinner 
was forgiven. Tannhduser kneels in prayer as the mourners pass with the body of Elizabeth, 
who, overcome by her bitter disappointment, had suddenly^ passed away. 



Overture — Part I 

By Arthur Pryor's Band 

Overture — Part II 

By Arthur Pryor's Band 



The Overture 



31382 12.mch, $1.00 



31383 12-inch, 1.00 



This overture, with its sombre opening chorus, its weird music of the Venus Mount, 
and the final return of the penitents, when the chant is accompanied by a striking variation 
for clarinets, is one of the greatest works of Wagner. It has become quite familiar by its 
frequent repetitions in orchestra and military band concerts, and no concert piece is more 
admired. 

The overture depicts the struggle between good and evil, and as Liszt has said, is a 
poem on the same subject as the opera and equally comprehensive. 

The sombre religious motive appears first : 



i ^^i^r 1^ r I j 




beginning softly and gradually swelling to a fortissimo. Then, as it is dying away, it is sud- 
denly interrupted by the Venusberg motive : 




with its rising tide of sensual sounds. This motive continues with terrible persistence, lead- 
ing into Tannhduser* s hymn to Venus, after which the enchanting Venus motive returns and 
is developed with various changes. The tide now changes again and the majestic pilgrim 
theme predominates, finally reaching a climax in the final hymn of triumph. 

ACT I 

SCENE I — The Hill of Venus-^Nymphs, Sirens, NafaJs and Bacchantes dancing or reclining on 

mos^ banjos 

The rising of the curtain discloses Perms reclining on a couch gazing tenderly at 
Tannhduser, who is in a dejected attitude. The goddess asks him why he is melancholy, 
and he tells her he is weary of pleasure and would see the earth again. She reproves him 
fondly : 

Venus: 

What! art thou wav'ring? Why these vain 

lamentings? 
Canst thou so soon weary of the blisses 
That love immortal hath cast 'round thee? 
Can it be — dost thou now repent that thou'rt 

divine? 
Hast thou soon forgotten how thy heart was 

mourning, 

417 



Till by me thou wert consoled? 

My minstrel, come, let not thy harp be silent; 

Recall the rapture — sing the praise and bliss 

of love 
In tones that won for thee love's self to be 

thy slave! 
Of love sing only, for her treasures are all 

thine ! 



VICTOR BOOK OF THE OPERA— WAGNER'S TANNHAUSER 



;b the Pralat lo Vaita, but it 



B forced effort, and tkrowi 



In thv tuft tbains w[th shame I'm burn 
'Tia freedom I tnusl win or die— 
For freedom I can all defy: 

Vtma in a rsire. ih 
with iJl her b 



No more in bondage will 1 sigh: 



SCENE 11—^ ValUy 
TannhHastT suddenly finds himself in a beautiful valley near the Wartburg. On the 
peaceful scene there break in the notes of a shepherd's pipe, and tinkling sheep bell* 
sound from the heights. A company of Pilgrims pass, singing their chant, while the little 
shepherd pauses in his lay, and begs them utter a prayer for him in Rome. This scene is 
effectively given by Mme. Runge and the Nebe Chorus, while additional records of the 
Pilgrim. Chorus are provided by Pryor's Band and the Brass Quartet. 

Pilgrims* Chorus 

By Certrud Runfe, Soprano, and Nebe Qt (Gtn. 

By Pryor's Band 

By Pryor's Band {DoMf/aaJ—SB ho 4i3) 

By Victor Brass QturleC iDoaUe-fi3ccd—SB paf 423) 



Oh, : 



f Thy n 



rn) 6B392 12-inch. %\ai 

31160 12-inch. IJOO 

16537 lO-inch. .Tft 

17133 lO-inch. .79 

k beneath Ihe burden! 



■ v'nly n 



The Landgraot and several minstrels now enter, and seeing a knight kneeling in prayer, 
accost him. They are amazed and delighted lo see that it is the long lost Henrg, their 
brother knight. They question him, but he gives evasive replies. The Knights urge him 

^ lo return with ihem, and speak the name of ElUiAelh, 

^ ^^ ] Wclfiom telling him that he is beloved by the Undgrmt't 




When 



e palm. 



oft thy CL „_.._ 

o"e.s™r1ou'"piizl waTi™['by"lE^ a"one: 



F.n thrall 'd 
For ah. w 
Her heart 
Of her ™ 



losed to joy and song, 

■sence the hereft us. 



Cast otf the burden that o| 
And her fair sUr will shii 

TannhUattT joyfully consents 
compete in the forthcoming Toui 



I and promises to 

.__ __.„ of Song, the prize 

hich is to he the hand of ElUahtlh. The remainder of 
the hunting train of the Landgrave now arrives, and as 
Tannhduttr is being greeted by his friends, the curtain falls. 



ACT II « 

SCENE— TAe Grail Hall In tht fVarOurg 
ElitaUlh enters, full of joy over the return of Tannhduier, am 



VICTOR BOOK OF THE OPERA— WAGNER'S TANNHAUSER 



Dich, theure Halle (Hatl. Hall of Song) 

ByJohsniuGadaki (Gcrmon) 88057 ll-inch. tS.OO 
By LoiuM Vaiet (German) 91849 12-inch. I.OO 



Mme. Cadski aing* thii glorious air in a lurpaMingly 
beautiful faahion. while a fine rendition a given by Min Voigt. 

TannhHattr enten and kneel* at the feet of SluAelh, who in 
faluihing confusion faidi him rise. 

Verzeiht wenn ich nicht 'weiss (Forgive, I 
Scarcely Know What I am Saying) 

ByJohaDoaGadfki (Cemian) 88442 12-iD.. *3.00 

With that franknew which •eems characteriatic of Wagner's 
hcToinea, the young girl makea no secret of her partiality for the Knight, and a long scene 
between the loveri eniuei; interrupted by the entrance of the Laiidgraot., who greet* 
TannhtitiMcr cordially and welcome* him to the c 





VICTOR BOOK OF THE OPERA— WAGNER'S TANKHAUSER 

The Knights and Ladies now assemble to the strains of the noble Fest March, given 
here in splendid fashion by Sousa's Band. 

Fest March 

By Sousa's Band 31423 12.inch, $1.00 

By Sousa's Band (Doubh-/aced—See page 423) 1 65 1 4 1 0-inch, .75 

When the company is seated, the Landgrave rises and makes the address of welcome. 

Landgrave: 

Minstrels assembled here, I give you greeting. To what we owe his presence here amongst us 

Full oft within these walls your lays have In strange, mysterious darkness still is 

sounded; wrapp'd; 

In veiled wisdom, or in mirthful measures The magic power of song shall now reveal it. 

They ever gladdened every listening heart. Therefore near now the song you all shall 

And though the sword of strife was loosed sing. 

in battle. Sav, what is love? by what signs shall we 

Drawn to maintain our German land secure, know it? 

Unto the harp be equal praise and glory! This be your theme. Who so most nobly 

The tender graces of the homestead, this can tell, 

The faith in what is good and gracious-;- Him shall the Princess give the oriie. 

For these you fought with word and voice; lie may demand the fairest guerdon: 

The meed of praise for this is due. I vouch that whatsoe'er he ask is granted. 

Your strains inspiring, then, once more Up, then, arouse ye — sing, oh, gallant min- 

attune. strels! 

Now that the gallant minstrel hath returned, Attune vour harps to love — great is the prize. 

Who from our land too long was parted. Ere ye begin, let all receive our thanks! 

Four pages, who have dra^n lots from a gold cup, now announce that Wolfram is to 
begin the contest. He rises and delivers his Eulogy of Love. 

Wolfram's Ansprache (Wolfram's Eulogy of Love) 

By Otto Goritz, Baritone {In German) 74215 12-inch, $l.50 

The singer gives his conception of love, which he describes as pure and ethereal, com- 
paring it to a crystal spring. 

WOLPBAM : 

(lazing around upon this fair assembly, My heart was sunk in prayerful holy dreams. 

How doth the heart expand to see the scene! And lo! the source of all delights and power 

These gallant heroes, valiant, wise and gentle — Was then unto my listening soul revealed, 

A stately forest soaring fresh and green. From whose unfathomed depths all joy doth 
And blooming by their side in sweet perfec- shower — 

tion. The tender balm in which all grief is healed. 

I see a wreath of dames and maidens fair; Oh, may I never dim its limpid waters. 

Their blended glories dazzle the beholder — Or rashly trouble them with wild desires I 

My song is mute before this vision rare! I worship thee kneeling, with soul devoted: 

I raised my eyes to one whose starry splendor To live and die for thee my heart aspires! 

In this bright heaven with mild effulgence (After a pause.) 

beams. I know not if these feeble words can render 

And gazing on that pure and tender radiance. What I have felt of love both true and tender. 

Tannhduser, who has shown signs of impatience during this recital, now jumps to his 
feet, flushed and eager, while the company looks at him in astonishment. 

Tannhauser: (Ardently.) 

Oh, minstrel, if 'tis thus thou singest. But what can yield to soft caresses. 

Thou ne'er hast known or tasted love! And, fram'd with me in mortal mould 

If thou desire an unapproached perfection — Gentle persuasion's rule confesses. 

Behold the stars — ^adore their bright reflec- And in these arms I may unfold — 

tion — This is for joy, and knows no measure. 

They were not made to be belov'd: For love's fulfillment is its pleasure! 

At this definition of love, strange for such an occasion, Biierolf a hotheaded Knight, 
rises and challenges Tannhduser, who excitedly retorts that such a grim wolf bb Biiero(fcuk 
know nothing of the delights of love I He then, in wild exultation, sings his blasphemous 
Praise of Venus, saying 

Tannhauser: 

Dull mortals, who of love have never tasted 
Go forth! Venus alone can show ye love! 

At this the Knights rush toward him with drawn swords, exclaiming : 

Knights; 

Ye all have heard. In Venus* dark abode that dwell, ^ 

His mouth hath confess'd Disown him— curse him — banish him! 

That he hath shared the joys of Hell, Or let his traitor life-blood flow! 

420 



VICTOR BOOK OF THE OPERA— WAGNER'S TANNHAUSER 



Zuruck, von ihin 1 (A'way from Him 1) 

By joluanm Gadalu, Sopruio ' ' '' 



tht bore of pardon bo denitd 



to judge 



{In German) 68443 13>iDch, t3.00 

Lcl Hcav'n decUic Ihrougb me wh.t it iis 

will— 
The eriing mortal, wh" haih fall,n 
Wilbin tbe weary toili 






Ob. lei 
The Landgraot pronounce* judgtnenl t 



n dark abyss 



iKed, Buggeiting that 
■ Keard the Pilgnrn*' 
! crieu "To Rome I" 



„ , ,--„ Mid declare* TannAdiucr hi 

he join the band o( Pilgrinu about to atari for Rome. In the dutanc 
chant, and the ilraina aeem to bring the erring knight to his lenaea. 
and daahes from the hall. 

ACT in 

SCENE— r^e Vallty htnealh the Wartbaig—al one tide a Shrine 
As the curtain lisea Eiliabelh is aeen kneeling at the shrine in prayer. IVoifram comes 
dovfn by the path, and obaerving her, sadly notices her changed appearance, and mum 
on his own hopeless love. The M>ng of the Pilgrims is heard in the distance, and 
BliiAtlh eagerly rises and scans the approaching bond. TannhHuier ii not among them, and 
the despairing maiden kneels again at the shrine, and offers her prayer to the Virgin. 

Elizabeth's Gebet (Elizabeth's Prayer) 

By Geraldine Fanw, Soprano (/n German) 88033 12-inch, *3.00 

By Eliiabeth Wbeelec, Sopctno [in EnglUh) *35096 12-inch, 1.2S 

This prayer of the sainted Eliiabelh is 

of the most beautiful and touching of 

master's compositions. "He will return 

cries the unhappy girl, and falls 

~6ii! blessed Virgin, hear my pray<;r! 
Thou star ol glory, look on me! 
Here in the dusi I bend before Ihee 




■ thy ki 



Is a'nl °mU 



Before thy blesMd feel I la. 

Unlil in death its flame hat 
If of my sin thou will not 
Yet in Ihii hour, oh gram 
ill Ihy e 



I vow K 



l"-nly g 



die thy i 
y I will ' 



I'l. 






She remains for a long I 
rapture; as she slowly rises she glances at 
[Volfram, who is approaching. She bids him 
hy gesture not to speak to her, hut he asks 
that he may escort her. 

Eiltabelh again expresses to him by 

gesture that she thanks him from her heart 

for his faithful love; her way, however, 

fulfill i she wishes him not to accompany 

lisappears gradually from view. 



VICTOR BOOK OF THE OPERA— WAGNER'S TANNHAUSER 



O du mein holder Abeodstem (Son; to the Evening Star) 

By Emilio de Gogorzi, Baritone (In German) 68154 12-iiich, *3. 

By Marcel Journet, Baas (/n Gc/Tnon) 74006 12-uich. 

By Reinald ^^errcnrath. Baritone (h Gtrman) *3SI60 12-inch. 

By ReinaU Werrenrath, Baritone {In Gtrman) 31463 ll-ineh. 

By Alan Turner, Baritone (In Engliih) *I7446 lO-inch. 

By Victor Sorlio. 'Celliit *16613 10-inch, 

O douce ^toile (Song to the Evening Star) 

By Maurice Renaud, Baritone (In Frtnch) 91067 10-inch. *2.00 



Her ubic wing o>r all lb« vaU she bindelh; 
The soul Ihat Tongs lo (read van path of liehl. 
\a dreads to pass Ihe gste of Fmt and Kight, 



Vith KlowEng 1 



arkncHS is by Ihce made bn| 
i Sirholy figEl™. '* 

she in rhy light reposed; 



ragged Pilgrim *■ dreu, hi* (ace pale and 
drawn, and lUpporling himaclf with diffi' 
culty by mean* of a staff. Waifiam ereeti 
hini "with emocion and leama that he i* 
■till unEorgiven and haa resolved to re-enter 
the Venu«berg. 



The unha. 



Pept't refusal of a pardoi 



*:s^y. 



TannhHuKr tell* of the 



sleafil 



before the rood in failb adoring, 
laylight broke, the silvVy bells wei 

f' vaulted roof a song divine wi 



"If thai 
That In 



iful earthly pi 
!,it neein'd thi 

who thus : 

unholy flan 




• DoMtJ^Bod R,a«t~Fa, t 



a DOUBLE-FACED TANNHMJSER RECORDS, tat, 423. 



VICTOR BOOK OP THE OPERA— WAGNER'S TANNHAUSER 

IVolfuim. in hoiror. urge* him to remain, but TannhHaia- rduin until Wolfram mentioni 
the name □( Eilzabtlh, The unhappy man, in (udden repentance, ainki to his knees, while 
in the distance ia (een a company of minatreU bearing the body of Ellxabelh, who ha* auddenly 
paued away. Ai the procession approachea, a company of Pilgrims enter and announce 
thai the staff oE the Pope had put forth green leaves as a sign that TannhHuatr was pardoned. 
The Mimtrel, supported by IVol/ram, gaze* on the saintly face of the dead Ellxabelh, 
then expires, while the Pilgrims and minstrels with great emotion exclaim : 
Thr Lord llioiHlf now thy bondaBC hsth 
Go. enlcr in with Ihc bleM in Hi>, [Uuvcn: 



DOUBLE-FACED AND MISCELLANEOUS TANNHAUSER RECORDS 



ByEll..b„bWhyly._Sjp™o|„„,^ »-->■■ "^> 



I Elizabeth's Prayer 

t A Nighl In Kertee Mr. and Ma. 

ILied dcs Hirtenknaben >ind Chor der Pilger | 

(/n Germoo) Runje and Nebe QtLo,,, , , i„,h 

Lied da Hirtettknaben uod Chor der Piljer (Part II) «»35Z 12-mcti. 

(In German) Runge and Ncbe QtJ 

10 du mein holder AbendsterD By Reinald Werrenrath|,< i^n 1.1 ' l 

\ Trtut Udit-Ach. u>le i,i; rrwgllch danr, &n/( AfuencA. r™r|" ' ^^^ 12-mch, 

rOverture — Part I By La Seals Orchestral, ---, ,, ■ l 

1 0verture- Part II By La Scala Orchestral''"''' la-.ncn. 

ISelection from the Opera By Arthur Pryor'i Bandt 1 ■(_;,. ^K 

\ Madame Batteifiy Selection, No. 2 By Arthur Pryor', Ba«dr'^^' 12-inch. 

IFestMarcb By Sousa's Bandl , , ,, . ,_ . . 

\ La Marsdltalie-Nalhnal Air of Franct Bj, Souao'. Sam//^**** l""""!'"- 

iThe Eveninff Star By Victor Sorlio, 'Cellistl,,_, , ,- ._ . 

1 La,t Rett <^f Sammtr By Eilzabtih Whtder, Sopranor*""^ IW-mcB. 

(The Evening Sur [In Er^Uih} By Alan Turnerl . . ,~_;„^i, 

\ TheRouirJ (Nalx) BaAlanTurr^r)"*^^ lO-mch. 

/Pilgrims' Chorus By Pryor'« Bandl , . .__ ,n_;„„L 

\ Lohenpir^Coro ddU r»x» {In Italian) By La Scala Choru,}^^*" lO-inch. 

IPilgrims' Chorus By Victor Brass Quartet! , -,,, ,- . . 

\ Dor, CaHo^Grand March {VerA) Bv 5«u<.'. ft.«//'"*^ lO-inch. 




THAIS 

OPERA IN THREE ACTS 



Libretto by Louia Gallet, baaed on the i 
Manenet. Fint production at the Op^ia Com 
every capital of Europe. Fint American proeJu 
Opera Houae, New York. 



avd o( Anatole Franca; muilc by Jules 
|ue. Paria. )894, and afterward in nearly 
tion November 25. 1906, at the Manhattan 




CharactecB 

Thais, actreu and courleHui Soprano 

ATHANAEL, a Cenobite monk . . Baritone 

NICIA5, a wealthy Alexandnan .Tenor 

PALEMON, an aged Cenobite monk. Ban 

ALBINE, an ahben Mezu>-Soprano 

CROBYLE, I , . , e 

MYRTALE, /■'"" '^'' ^™"^ 

Monki; Nun*. Citizens, Servants; Dancers; etc. 

Time and Ptact : Attxandria and Iht Egs/plian datrt ; 
tarig ChriiHan era. 

Thatt the Enqitian, a woman o( wondeihii beauty and a courtesan, who waa converted 
by Pafnucio and led by him into the righleous path, ia the lubiecl of this lyric opera. The 
librettiit has given the name of Alhanati to Pa/nudo, who ia a young and handaome monk 
livbig with an aaaemblage of holy men. colled Cenobitea, in the desert of Thebes. 

ACT I 
SCENE I— The Camp a/(Ae Ctnoilla near ihe Nile 
At the opening of the opera Alhanael has just re- 
turned from Alexandria, haunted by the atoiy of the 
famous courtesan, ThaU, whom he feel* it hia duty to 
save. Against (he advice at the head Cenobite, 
Palemon, he call* his brother monks together and an- 
nounces his intention of letuming to Alexandria to 
convert the courtesan to the nobler life. 

SCENE l\—Tht H«ae af Nldat al Alexandria 
Alhanael niiivBt and i* warmly greeted by Ntctas, 
who knew the monk years before. The traveler tells 
his old friend he ha* come to the capital to teach 
Thalt the better life, but Niclat only laugha al him 
and Koffs at the idea. fHowever, he has his daves 
dress the monk in rich robes, and when Thali airivea 
she is soon curious about the handsome atianget, 
whose severe demeanor arouses her interest. The 
monk tells her he ha* come to Alexandria to teach 
her salvation and the life everlasting, but she saya 
she believes only in joy and love and pleasure- 
In honor at the revelry which i* planned for the 
evening, Alhanael leaves, declaring he will *ee Thalt 
at her home and show her the true light 
ACT II 
SCENE I— Tfiofj" ApatimenU 
.ce in the luxurious home of ThoTs. Alhamel enter*, steeling 
charms of Thab, and eloquently pleads with her for the new 




BOOK OP THE OPE 



I A-M ASSENET'S T H AIS 



Bod higKer love and the life to 
come. Than la at Erst fright- 
ened and then defiant, but 
Athanatl dedsrei that ihe will 
ind that he will 



t repent, anc 
rait tier comii 




™_the 

aAtha'nad. 
her life of pleasure, and tells 
him she will follow wherever 
he leads. He urges her to put 
B torch to all her earthly pos- 
sesaions, and she permits him 
toiet lire to her palace. Niclat 
now appears with his joyous 
companions, singing and danc- 
ing. In the midst o( the rev- 
elry ihey discover ThaU in her 
sombre garments, and becom- 
ing infuriated over her depai 

Nidat, realising the seriousnea. , , „ „ 

among them, and in die acramble which follows Thah and Alhanael make their escape. 

ACT III 

SCENE \~A Datri Oflj/i 
In Act III the pair are seen on their way to a convent. ThoU is almost exhausted with 
fatigue, and Alhanael tenderly supports her. Salnl Alblnt and the While Slilea come to meet 
them, and the monk delivers Thali over to them 
to remain with them till the end of life. Thab !■ 
happy with a great spiritual peace, but Alhanael, 
who has grown to love her with an earthly love, 
is troubled at the thought of parting with her for- 

SCENE II— TAe Ctnobilet' Camfi 
Alhanael, relumed to his retreat, no longer 
finds there the peace of former days, and endures 
mental torture, continually thinking of Thalt, He 
has a vision in vrhich she appears to him first a* 
the courtesan and then as a nun dying in the 




lakes his 



or, he r 



^ay again 



> the 



SCENE 111— TAs ConaenI o/ the Wlule Slilen 
Athanatl arrives, finds ThaTa ill, and in a frenzy 
of love implores her to return to the earthly life. 
but Thah has a vision of heavenly bliss and is 
deaf to his entreaties, dying with a glow of hap. 
pinesa on her face, while Alhanael falls to the 

No opera of Mr. Kammeratein's producing 
made such 
as did Mas 

although its beauties were almost intangible 
and hard to realize widiout many hearings and 



VICTOR BOOK OP THE Q P E R A— M A S S E N E T'S THAlS 

on intimate acquaintance with 
the teat. The lovely MtdUa- 
Hon, however, alway* mode 
an inMant impreMJon on every 
hearer and received enthuii- 
Bitic approval, being played 
aa an intermezzo between the 
■cenea of the opera. But 
TTtah audiences heard no auch 
rendering* of thia intermezzo 
aa have been given here by 
Powell. Elman and Kreialer. 
Two other fine recorda by Pil> 
zer and Rattay, in the popular 
double-faced claaa. are also 
offered. The Kreat air from 
Act I, in which Atkanacl tella 

,„^ ,„„„ , ,^ ^, ., the Cenobitea of hia viaion of 

life in the wicked city, it aung 
by Mr.Whitehill with a noble quality ol voice and much dramatic force. A very fine record 
of the D'acqua aiperglinl, the duet between Than and .^fAonacJ in Act 111, by Janni and Battia- 
tini, ia alao preaented. 



THA'iS RECORDS 
Meditation (Intermezzo Religieuse) 

By Maud Powell. Violinuc 74133 12-inch, *1.S0 

By Friti Kreialer, Violinist 74182 12-iach. 1.30 

By Miacha Elman. ViolinUt 74341 12-inch. 1.30 




Voili done la terrible cite (That 
Awful City 1 Behold) 



D'acqua aspergimi (With Holy 
Water Anoint Me) 

By Mme. Janni. Soprano, aad 
Mattia Battistini. Baritone 

(/n Italian) 88353 12-inch, f 



CM, 



ditation (/nfiFTnuie | 
Rdlgltuse) 
By Howard 

Riltay, Violinist>3S]47 12-incb. •1.23 
Lohengrin Stlecllon 
(Wagn«) 

By Piya-'t Sanrf) 
MediMtion Unhnnttto I 
Rdlgiease) 
By Maximiliin I 

Pilzer, Violiai«>pS306 12-inch, 1.23 

" "' ■ I 

yioUnUI) 




TOSCA 

OPERA IN THREE ACTS 

Text by [Uica and Ciacoia after Sardou's diamn. Music by Giacomo Puccini. FinI 
produced at the G>iutanzi Theatre, Rome, in January, 1900. Pint London production July 
12, 1900. FirM American production February 4, 1901, at the Metropolitan, the cast includins 
Temina, Cremonini. Scotti and Gilibert. Alao produced in Elngliak by Henry W. Savage. 

Charactera 

FLORiA TOSCA, (Fhli.n*.ak TtU-kaU a cel^rated singer Soprano 

Mario CaVARADOSSL iMaK-r«^h C<M-mA.dW«) a painter , * 

Baron SCARHA (5»^ .<«-«« chief of the police 

CESARE ANCELOTTl, lS»tMl<,'-vAh,4dM-*i:tl 

A Sacristan 

SPOLETTA iSttM-tmli) a police event Tenor 

SOARRONE, a gendarme , Baaa 

A Jailor Bam 

Jtidge, Cardinal, Officer, Sergeant, Soldiers, Police Agents, Ladies, Nobles, Gcizens. 



Sane anJ Period : Rome. June. 1800. 



The Story 

Toaca is Puccini's fifth opera, and by far the moct popular, next to Mme. Butterftr, 
which probably holds first place in the affections of opera-goers. The opera is a remarkable 
example oE Puccinl'i skill in adjusting both instrumental and voice effects to the sense of 
the story, interpreting both the characters and the situations. 

The plot is gloomy and intensely tragic, following closely the Sardou melodrama, but 
is relieved somewhat by the beauty of the musical 
setting which cotifirroed Puccini's place in the first 
rank of modem operatic composers. The three acts 
of the opera are crowded with sensational events and 
highly dramatic siluations. 

'The work has neither introduction nor overture. 
The first scene occurs in the church of San Aadna, 
where the painter, Mario CavaradcttI, is at work on 
the mural decorations, l-lerehchas been accustomed 
to meet his fianc^the beautiful Floria Toxa, a singer. 
While awaiting her, he contemplates the Magdalene 
he is at work on, the face being that of the unknown 
beauty who had frequently prayed at the altar. 

Suddenly a politjcal refugee. AngeielU, who has 
just escaped from the castle, appears, recognizes his 
friend CaoaraJoal, and asks his assistance. The painter 
gives him food and sends him to his (,CaoaniJoui' m) 
villa, just as Totca anives. Her lover's confused man> 
net arouses her curiosity, and when she sees the like- 
ness on the easel, she is jealous. He soothes her, and 
after her depatture hurries out to guide Angtlottl. a 
cannon shot from the castle meanwhile announcing 
the escape of the fugitive. 

Scarpla and his police enter in search oF the pris- 
oner, who has been traced to the church. Caoaradaal 
is suspected as an accomplice, and Scarpla, who is 
secretly in love with Toica. plans his ruin, with a view 
1 his path a dangerous rival. 




VICTOR BOOK OF THE OPER A— P UCCINI'S TOSCA 



[n the Kcond act Scarpla. pulling into execution 
hi* •chemea, otderg Maiio'i arreit. and when the 
paintet it brought in, lendi for 7a*ca and contrive* 
tbat (he shall hear the Clie* of hei lover a> he ia being 
tortured to induce him to reveal Angtlolll'i hiding place. 
Unable lo endure Mario i agony, ihc tella Scarpta where 
the refugee is concealed. Mario ia aent to piiaon, and 
Scarpta tella ToKa that unleu she look* with favor on 
him, her lover ahall die within an hour. To save hia 
life ahe conaenta, but demandi that they be allowed to 
depart in aafety the next day. A mock execution is 
planned by Scarpta, who writes out a pass for the 
lovers. As he givca il to ToMCa, she ataba him and runt 
to Mario with the release. 

In Act III the mock efecution takes place as plan, 
ned, but through Scarpla'i treachery, il proves lo be a 
real one, and Mario it killed. ToKa afterwards throws 
herself from the cattle parapet at they attempt to 
BTTeat her for Scarpia'M murder. 
ACT I 
SCENE — lalerier of ihe CAukA of Si. Andna 
Mario CaearaJotil, the painter, enters the church 
where he hat been at work on a Madonna. Aa he 
uncovers the portrait, the Sacristan, who is assisting 
Mario, is surprised to .discover in the face of the 
painting the unknown beauty whom he had noticed 
of late in the church. Mario smilingly confettes that whili 
her likeness for his Madonntk Tlien taking out a minial 
sings a lovely air in which he compares her dark beauty 
eyes of the unknown wonbipper, calling it "a strange but hi 

Recondita armonia i Strange Harmony) 

By Enrico Ciruso. Tenor (/■. !U 




she bad prayed he had stolen 

ire of his betrothed, Totcn, he 

ith the fail treaoes and blue 




i/r<in) BT043 lO-inch, *3.00 



rupted by the hurried entrance 
of a man in prison garb, pant- 
ins with fear and fatigue, 
whom Mario recognizes as an 
old (riend,^nfe/o/H, a political 
prisoner, Mario, in response 
to hit friend's appeal for astitl- 
ance, hastily closet the outer 
door, and concealt Angtlolli in 
the chapel jutt as Toko'* 
voice it heard impatiently de- 
manding admittance. 

He admits her, but it 
anxious and ill at ease, fearing 
to intrutt even Tota with so 
dangerous a secret, but the 
notices hit preoccupation and 
is somewhat piqued because 
he is not as attentive as usual. 
She is at first jealous and askt 
bim if ho is thinking of another 
woman ; but soon repents, and 
in the charming love acene 
which follows endeavors lo 
smooth hia brow by planning 
for the morrow. 



VICTOR BOOK OF THE OPBR A-P UCCINI'S TOSCA 




She ling* of the deliehu oF ihe pioposed visit to tKe 
villa, and the lomuitic larcmt where they will wander and 
forget the caie« and trouble* of their profesaional life. 

He listens but leemi absent-minded, and the con- 
linuei her recital of the joys of their secluded little retreat 
among the hills. Mario say* she is an enchantress, and 
in this duet they exchange anew their vows of love. 

Non la sospui la nostra casetta (Our 
Cottage Secluded) 

By Rusieowfks, Soprano; Cunego. Tenor 

(In Italian) 88272 12.ineli. 13.00 

Toko now perceives the MLdonna and recognizes the 

e as that of the AllaoanU, sister of AngelolV. Her ieal- 

oun revives, and she declares that Mario has fallen in love 

with the blue eyes. Beginning another duet, he swears 

that none but Taxa't eyes are beautiful to him. 

Qual occhio al mondo (No Eyes on 
Earth) 



U)d she bids her lover a 



Mario promises to meet her at the stage door t 
tender farewell and departs. 

The painter hurries to the chapel and bids Angtiolll escape, showing him the path t 
the vilU, where he will be safe. A cannon shot from the fortress tells that ' 
the prisoner has been discovered. 

He is no sooner gone than the Sacristan and choir 
enter, followed soon after by Scarpia and his police, who 
have traced Angdolll to the church. The Allaoanirt 
fan and Mario') empty basket are found in the 
chapeL and when the Sacristan says it should contain 
the painter's lunch, Scarfia suspects Mario of aiding the 

Toica now returns, still doubting her lover, and 
Scatpla, divining the state of affairs, decides to add 
fuel to the flame of jealousy. He approaches her 
respectfiilly and sings his first air, Divine Tiaca. 

Tosca Divina (Divine Tosca!) 

By Gustav Berlc-Resky. Baritone 

{In Ilaban) *lb74i 10-incb, t0.7S 
He praises her noble character and devout habits. 
She is inattentive and scarcely hears him, until he 
insinuatingly says that she is not like other women 
who come here to meet their lovers. She asks him 
what he means and Scarpla shows her the fan which 
he had found in the church. Toxa is now convinced 
that Mario has been deceiving her, and in a jealous 
rage she leaves the church, weeping. 

Te Deum 




tkafoppHlUilAtm DOUBLE-FACED TOSCA RECORDS, pm^ 434. 



VICTOR BOOK OF THE O P E R A— P U C C I N I * S TOSCA 



* Tt Dtam, aung ir 



»uniJing through the church, while Seatpla IcneeU. apparently in reverence, but aecietly 
plotting his diabolical crimei. 

ACT II 

SCENE— /4 Room In Scarpla'i ApartmenU In Iht Famat Palact 

When the curtain rnem Scarpla ia ihown at hii lupper, realleu and agitated, awaiting the 

report of hi« police, who have been wnt to arreM Mario and Atigdotlf. Hearing Totca't 

voice ia the apartmenta of the Queen below, where ihe ia linging at a tairtt, he senda her • 

note aaying he kaa newa of 
her lover. . He ia certain ahe 
wiU come for Mario' t aalcc^ 
and sure that hia plana will 
succeed. He then ilngi his 
celebrated aoliloquy, Scarpla 
loves euch a conquest ■■ ihia — 




tender 



1 the 



told that Mario 

■he reveala the hiding place of AngelolU, Scarpla, 

orders the torture to ceaae. hut aenda Mario to pnaoti, telJins 

him he must die. TWa triea to go vrith him but is forced 

Then begins the great scene of the opera, which Scarpla 
begina by offering to save Marlo't life. She scornfully asks 
him his price, and he proposea that Totca ahall accept his 
attentions in order to save her lover's life. He then aings his 
famous Canlablle. 

Cantabile Scarpia (Scatpia's Air) 

By Antonio Scotti, Baritone B8122 12-incb, *3.00 

Gia mi BtTuggei (You Have Scorned Me) 

(Last Psn of CieiibJIc) 

By Ernesto Bidini </n Italian) 45016 10-ia„ ll.OO 

He tells her that he haa long loved her and had aworn to 

posseaa her. She acoma him. but when he tells her thai Mario 

shall die in an hour and exults in hia power, her spirit is broken, 

and weeping (or shame, she aings that loveliest and most 

Vissi d'arte e d'amor (Love and Music) 



light for him I He prefers 
takuig what he desires by 
force, then when wearied he 
is ready for further conquest. 
Thla. in short, is his creed- 
God haa created divers wines 
and many types of beauty^ 
he prefers to enjoy aa many 
of them aa possible! 

Mario is brought in by the 

police, who report that Angeialtl 

cannot be found. Scarpla 

is furious, and tries to force 

but ha refuses to speak, and is ordered 

I in answer to Scarpla'i summons and ia 

Unable to bear the sound of his groans 

in triutnph. 




pathetic of airs. KJmI d'artt. 



By Nellie Melba. Sopra-. 
By Geraldine FirrA. Soprano 
By Emma Eamcs. Soprino 
By Lucille Marcell, Soprano 
By Maria Broneoni. Soprano 
By A^es Kimball, Soprano 



(In Italian) BB075 12-inch. I3.00 

(/n Italian) aei»2 12.inch, 3.00 

(/n Italian) 88010 12-inch, 3.00 

</n Italian) 76016 12-inch. 2.00 

(/n Italian) 4S017 lO.inch, 1,00 

(In Engltlh) 60070 lO-inch. .79 



VICTOR BOOK OF THE OPER A— P UCCINI'S TOSCA 




One of the moat interesHiiK compamont to be found in the 
Victor'* opera li»t ia in ■ hearing of ihcae aii rendition*, by tix 
famous Totaa — Melba, the AuMraJian; Farrar, Eamea and Kim- 
ball, the Americana; Marcell. the Frenchwoman; and Bronzoni, 
the Italian, the latter record being doubled with Mario'i 3d Act 

This highly impauioned number ia given ill full dramatic 
value by Mme. Metba, vrhoae performance of the ill-fated Fhria 
ToMca ia alwayi an impresaive one. Farrat, in her rendition, de. 
liven this touching appeal of the unfortunate Tosca with much 
pathos and limpticity. h ia probably the moat perfect and I>eBU- 
tiful of aU the FatraT records. The ail i* alao a fine teat of 
Mme. Eamea' dramatic ability, and [hi* scene is one in which she 
has made one of her greatcat triumphs. 

The unhappy woman asks what Ae ha* done that Heaven 

should forsake her. Scarpia, who is watching her intently, calls 

I her attention to the sound of drums, summoning the escort (or 

condeirmed prisoner*; and demands her answer. She yieldi^ 

bowing her head for shame. Scarpia ia overjoyed, and when 

I insists that Maria shall be set free he consents, bul saya a 

It is agreed that after this pretended execu- 
tion, Mario shall have hi* liberty, but Taica 
demands a safe escape from the country for 
ihem both. While Scarpia a writing the docu- 
ment ToKa contrives to secure the dagger 
from ihe table, and as Scarpia approaches to 
give it to her and then take her in hi* arms, she 
stab* him, crying that thu* she gives him the kiss 
he desired. In a prolonged and hi^ly dramatic 
scene aha takes the paper from Scarpia '$ dead 
fingers, then washes her hands in a bowl on the 
table, places the two candles at the dead man's 
head and the cross on hi* bosom, then goes out, 
turning (or a last look at the lifeless body « 



ACT III 

(A lerraet o/ Son Angtio Cailli, oahlJt Iht prison ctll of 

CaoaraJoiMl. Viae of Romt by nighl) 

The music of the opening act is moat effective, with 

it* accompaniment of pealing church bells, and it is 

imlendidly played by Mr. Pryor in the Toko Seltclhn. 

'This entire prelude is also given by an Italian orchestra 

under the direction o( Sabaino, doubled with the Te 

Deum at Act 1. 

Prelude 

By La Seals Orcheatri &S008 IZ-inch. tl-SO 
Mario is brought out from his cell, is shown the official 
death warrant, and told he hd.hul one hour to live. He 
asks permission to write a note to Toscn. and is given 
paper and pen. He begins to write, bul engrossed with 
a of the past, he pauses and sings passionately of his loved One, whom he expects 




mr 


Bft 


"<-«u 


-. '^n0 


rS-c'^v,' ■' * -sOKUi 



i32 



VICTOR BOOK OF THE OPE 



t. A— PUCCINI'S TOSCA 




E lucevan le stelle {The Stars Were Shining) 

By Enrico Caruso. Tenor (In Italian) 87044 lO-inch. t2.00 

By Riccudo Martin, Tenor (In Italian) 81090 lO-inch. 2.00 

By Franco de Gretorio. Tenor (/n Italian) 4901 T lO-inch. 1.00 

Mario at lirtl recalts their former meetingi on itarlight nighu in quiet garden* ; then. Feel- 
ing the bitter regret of looi of life Btid all that he holds dear, the voice rises in passages of 
tragical impart and power a* the air proceeds. The regret, the grief and the hopelesanea* 
of the situation are depicted hy Caruso with intense pathos, the air closing with a sob — an 
effect by which this singer can effectively express the extremity of passionate grief. 

In Martin's rendition this tenor is at his best, singing the lovely Puccini music with 
much beauty of lone. The de Gregorio record i* a double-faced one, being paired with 
Mme. Bronzoni's KiM d'arie. 

Totea now enters, and joyfully telling Mario he is to be free, shows him the safe 
conduct, telling him how she has killed Sea^a. He gazes at her with compassion and 
regrets that these hands — auch tender and beautiful hands — should be compelled to foul 
themselves with a scoundrel's blood. She then explains that a mock execution has been 
arranged, and instructs him to fall down when the volley is lired, and when the soldiers are 
gone they are to escape together. 

In a beautiful duet, recorded here in two parts, they rejoice in their hopes for the 

Amaro aol per te tn'era il tnorire (The Bitterness of Death) 

By Elena Rusicowslu. Soprano, and Efidio Cunego, Tenor 

(In Italian) 68174 12-ineli. *3,00 

Trionfa di nuova speme (A New World) 

By Elena Ruszcowska ind Etidio Cunego {In Italian} BT069 10-inch, >2.00 
The squad of soldiers now enter and the pretended execution takes place as planned; 
the shots are fired and Mario falls as if dead. Tbicawaita till the firing party is gone, whis- 
pering to her lover not to get up until the footsteps have died bwbv. "Noie, Mario, all It taft," 
she cries, but is astounded that he does not obey her. She rushes to him, only to find that 
Scarpla had added another iiiece of treacheiv to his long list, having secretly ordered Mario 
to be killed. She throws herself on his body in an agony of grief. 

Spolelia and soldiers now come running in and announce the murder of Scarpla; but 
when they attempt to arrest Totca she leaps from the castle wall and is killed. 



VICTOR BOOK OF THE OPE 



I A— PUCCINI • 



DOUBLE-FACED AND MISCELLANEOUS TOSCA RECORDS 

ITe Deiun— Finale to Act I 1 

\ By Ciu*eppe Magfi and Choru* (/n Uallan) ^59008 12-tocl>. tUO 

[Prtladia—Atlo III By lulUn Orchestral 



45016 lO-ioch. IJW 



I Gil mi struKKca (You Have Scorned Me) 

By Emeito Badini. Baritone (In Uallan 
Manon Ltacaal — Donne rwn eidt mai (Puccini) 

Bji Egidio Cartego. Ttnar (In Italian,] 

IViiai d'lrte e d'amor (Love and Muiic) I 

By Maria Bronzoni. Soprano (In /ln/fonU j,_, _ ,. - i. • nn 
E loccv.,1 Ic .Klk (Th. St.™WOT Shintoj) 1«°" ■»-"«l'- '»» 

By De Gregorio. Soprano (In llallan)] 

ITosca— ToKd Dlolna (Divine Toaeat) J 

By Berl-Reaky, Baritone (h llallan) \.^... ,„ j^v ,, 

Pftghlera-Alla menu canfu» (To,ll) 1167*3 lO-.nch. .79 

Bj) Cuilatt Berl-Ralm. Baiitont (In llallan)] 




LA TRAVIATA 

OPERA IN THREE ACTS 
Text by Piave, founded on Dumas' "Lub'of the Camelias," but the period ii changed to 
ihe lime o{ Louis XrV. Score by Giuieppe Verdi. First preaented in Venice, March 6, 1653 1 
London, 1856 ; Paris, 1656. Firat American production December 3. 1656, with Brignoli and 
La Grange. 

Cturacteri of the Opera 

VlOLETTA VALERY. a courtesan Soprano 

Flora, friend of Violetta Mezzo-Soprano 

ANNINA, conbdante of Violetta Sopruio 

Alfredo GERMONT, (Zferwnou) lover of Violelta tenor 

Giorgio GERMONT, his father Baritone 

CASTONE. Viacoum of Leloriere* Tenor 

Baron DOUPHOU a rival of Alfred Baritone 

Doctor GRENVIU a physician Bass 

Giuseppe, servant to Violetta .Tenor 

Chorus of Ladies and Gentlemen, friends of Violetta and Rora. 

Mute Personages; Matadors, Picadors. Gypsies, Servants, Masks, etc 

Scene and PtrloJ: Paris and enelnnj, iJiaul the year 1700. 

Verdi's La Tiaviata is based upon a well-known play by Alexandre Dumas, La Dome 
aia camdlai, familiar in its dramatic form as CamllU. It is one of the moat beautiful works 
of its class, and is full of lovely melodies; while the story of the unfortunate Vlolello has 
caused many tears to be shed by sympathetic listeners. 

The opera met with but indifferent 

success at its lirst production. Several 

ludicrous incidents aroused the laughter 

of the audience, the climax being reached 

when the F/o/eHo (Mme. Donalelli), who 

happened to be very stout, declaimed in 

feeble accents that she was dying of con- 
sumption! This was too much for the 

Venetian sense of humor, and the house 

exploded with mirth, utterly spoiling the 

final scene. funcesco pIave 

The opera was then revised, eight- (1810-1676) 

eenth century costumes and settings being ""uav'atil °' 

substituted for the modern ones {irst used ; 

and the new version was produced in various cities with suc- 
vasDi AT THE Tiiii Or THE Of, the London season being particularly brilliant. 

nssT TSAViAT* FRO- The plot, being quite familiar, will be but briefly sketched 

DucTioH ^^^^ Vhlttia, a courtesan of Paris, is holdbg a brilliant 

revel in her home. Among the guests is a young man from 
Provence, ^{/>h/, who is in love with Vlolella, and after much persuasion, the spoiled beauty 
agrees to leave her gay life and retire with him to an humble apartment near Paris. After 
a few brief months of happiness, the lovers are discovered by Alfred't father, who pleads 
with VioleHa to release his son From his promises. She yields for hU sake, and resumes her 
former life in Paris. Alfred, not knowing the real cause of her desertion, seeks her out and 
publicly insults her. Too late he discovers the sacrifice Violetta has made, and when he 
returns, full of remorse, he finds her dying of consumption, and she expires in his arms. 

Prelude to Act I * 

By La Scala Orchestra (DvAlt-faaJ-St, page 441) 68027 12-iach. tUS 

The prelude, one of the loveliest bits in the opera, is plajred in fine style by the famous 
orchestra of La Scala. 





VICTOR BOOK OF THE O PER A— VERD I'S TRAVIATA 

ACT I 

SCENE — Drawing-room in the House of Violetia 

A gay revel is in progress at the house of Violetta, and the act opens with a lively 
chorus, followed by a rousing drinking song, given by Alfred, in which Violetta joins. 

Libiam nei lieti calici (A Bumper ^Ve^U Drain) 

By Amelia Rixzini, Soprano: Emilio Perea, Tenor: and La Scala 

Chorus (In Italian) '^62415 10-inch, $0.75 

Alfked: Violetta: 

A bumper we'll drain from the wine-cup Enjo^ the hour, for ra;)idly 

flowing, ^ The joys of life are ilyinf; — 

That fresh charms to beauty^ is lending, Like summer flow'rets dying — 

O'er fleeting moments, m»< quickly ending, Improve them while we may! 

Gay pleasure alone shtffltd reign. The present with fervor invites us. 

Its nattering call obey. 
Chorus: 

Enjoy then the wine-cup with songs of 

pleasure 
That make ni^ht so cheerful and smiling. 
In this charming paradise, beguiling. 
That scarcely we heed the day. 

The dance commences, and all go into the ballroom except Violetta and Alfred, who 
remain for a charming love scene. In a beautiful duet the lovers speak of their first meeting. 

Un di felice (Rapturous Moment) 

By Marie A. Michailowa, Soprano, and A. M. Davidow^, 

Tenor {In Russian) 61138 lO-inch, $1.00 

By Emma Trentini, Soprano, and Gino Martinez-Patti, 

Tenor (In Italian) *62067 10-inch, .75 

Alfred now bids her a tender farewell and takes his departure, and Violetta sings her 
great air, one of the most brilliant of all colorature numbers. 



{ 



Ah, fors' c lui (The One of Whom I Dreamed) 
Sempre libera (The Round of Pleasure) 



By Luisa Tetrazzini, Soprano (In Italian) 88293 12-inch, $3.00 

By Marcella Sembrich, Soprano (In Italian) 88018 12-inch, 3.00 

By Nellie Melba, Soprano (In Italian) 88064 12-inch, 3.00 

By Lucy Marsh, Soprano (In Italian) 70094 12- inch, 1.25 

By Giuseppina Hutfuet, Soprano (Part I) (In Italian) *62084 10-inch, .75 

By Giuseppina Hutfuet, Soprano, and Pietro Lara, Tenor 

(Part II) (In Italian) *62084 10-inch, .75 

The aria occurs at the close of the act. Violetta, wonderstruck at finding herself the 
object of a pure love, begins the soliloquy, E strano, saying : 

How wondrous! Shall I dare disdain it. 

His words deep within mv heart are graven! And choose the empty follies that now surround 

No love of mortal yet nath moved me. me? 

She then sings the plaintive air. Ah, fors* i lui, and gives herself up to the spell of 
awakening love: 

Violetta: 

Ah. was it he my heart foretold, when in the Strewing my way with flowers, 

throng of pleasure, Waking my heart to love! 

Oft have I joy*d to shadow forth one whom Ah, now I feel that 'tis love and love alone, 

alone I*d treasure. Sole breath of all in the life, the life universal. 

He who with watchful teoderness guarded my Mysterious power, guiding the fate of mortals, 

waning powers, ♦ Sorrow and sweetness of this poor earth. 

The animated last movement follows, as the unhappy woman shakes ofi the illusion 
and once more vows to devote her life to pleasure. 

*DmJ>leJ^aeeJRBconI-Fortitk<ifoppo$IUsiJeteeDOUBLEJ^ACED LA TRAVIATA RECORDS, page 44 / . 

437 



VICTOR BOOK OF THE OPE 



lA-VERDI-S TRAVIATA 



Joying, loving 7rom 
1 wilf drain i brim 



Flies to bear me some new raplur? 
Ever fnsh delighu I'll barrow, 
1 wili banish a[T annoy! 

Victor cu*tomera have no fewer than six rendi- 
tions of thi> great air at their command and are 
likely to be embarraued in their attempt* lo ckooae 
between them. 

Melba'a linging of thia air ia markecl not only 
by great brilliancy, but by dramatic fervor, and she 
makea a marked contrast between the aadneaa of 
the prelude and the forced gayety of the finale. 
Both portiona of the aria (formerly iaaued in two 
parts) now are included in one record, 

Mme. Tetrazzini choae this opera for her lirst 
appearance both in London and New York, and the 
choice was an admirable one. as Verdi's work ex- 
hibits all the soprano's fine qualities — not only her 
wonderful coloratura but the warmth and color 
which she pooessea in a high degree, trfsny oper- 
atic sopranos regard the part of ytoUlla merely as a 
background for a vocal display. Tetrazzini on the helba as violztt* 

other hand, while not neglecting the opportunities for coloratura, brings to the part ■ human 
tenderness and a pathos which are most affecting. Her rendering of this familiar Ah, fort' 
i lul im a moat musical one, with ita astonishing feats of execution; and the ease widi 
which she trills an E. In all can only be described as amazing. 

Mme. Sembrich in her turn fully realizes the composer's ideal in the presentation of 
this Borid and ornamental air, and seldom has a more aatiafying rendition been heard. 

Other fine renderings are provided by Miss Marah and Mme. 
Huguet. 

ACT II 

SCENE.— /nferior o/ a Counlrg Hoau near Parit 
Atfnd entera and soliloquixea upon his new-found happiness. 




She forjel-; all tor mt 
He then sings his Del mitl holUnH, a lovely air, in which he speaks 
of his wild youth, and the peace and happiness which have come lo 
him throu^ his love for Violella. 

Dei miei boUenti spiriti (Wild My Dream) 

By Aristodemo GioTKini (llalian) Z601 1 12-ineh. *24)0 

By Hernlin Jadlowkef (haHan) 76024 12-inch. 2.00 

By Emilia Perea. Tenor (Ilallan) *68156 12-inch, 1.25 

By Alberto Amadi, Tenor {Ilaltan) *b33l4 lO-inch. .?» 



w she whisiier'd!. 
: love but thfe." 



« DOUBLEJ'ACED LA TRA VIA TA RECORDS, p, 



VICTOR BOOK OF THE OPERA— VERDI 'S TRAVIATA 

AlftfJ leama from VUAetta's faithful mud that ahe haa been obliged 
to aell her jeweU for their tupport. He it much ashamed and leavei (or 

Vloleita return! and is surprised at Alfnd'i sudden departure. A 
visitor is announced, who proves to he Germant, the father of Alfred. He 
has been greatly distressed at his son's entanglement, and come* to beg 
VIoklla to release the young man from his promises. She is much moved, 
and her bearing make* a favorable tmpresaion on Carmnt, especially when ; 
he learns that she has sold her property for AlfnJ'i sake. 

Pura siccome un an^elo (Pure as an Angel) 

By Batutflioli and Badini Un Italian) *4>001 10>inch. >1.00 ' 
By RenzoMinolfi. Baritone {In Italian) '*'62415 10-inch. 

Non sapete (Ah, You Know Not) 

By Ernesto Baditti. Baritone {Itollan) *49028 10-ineh, tl.OO 

In this air Cermonl plead* for his own daughter, whose engagement 

to a youth of Provence will be broken if Affrtd does not return home. 

yioltUa at first refuses, saying that her love fot Alfrtd i* above all other 

considerations, but when Cermonl says : 



While VF1 there iniy be lime. 

'Tis Heav'n ilielf thai bids me speak, 

save Alfred forever, and they ling a me 

Dite alia giovine (Say to Thy Daughter) 

By Maria Galvany and Tin* Ruffo {In Italian) 92503 12-inch. *4.00 



iThey embracc.1 

Ere long restor'd you'l) Rnd hini. 
Gtrmont expresses his gratitude, embraces the weeping 
yieltHa and depart*, while the unhappy woman write* to 
Alfrtd of her decision and returns (o Paris. 

When the young man returns he is driven to despair by 
yiiJella't note, and repulses his father, who pleads with him 
to return. Germont then sing* his moat beautiful number, the 
DiProotnta. 

Di Provenza il mar (Thy Home in Fair 
Provence) 

By G. Mario Simmsrco. Baritone 

{In Italian) 88314 12-inch. (3.00 
By Ernesto Badini, Baritone 

{In Italian) *45001 lO-inch. IJM 
In this touching appeal he asks his son to return to his 
home in Provence and to his father's heart. 

Sammarco sings the number with a wealth of tenderness 
and expression, revealing a smooth, rich and resonant bari- 
tone which is good to hear; and a popular- priced record by 
Badini is also offered. 




llt.lJe.B DOUBLE-FACED LA TRAVIATA RECORDS, p. 



w44l. 



VICTOR BOOK OF THE OPER A— VE RDl '8 TR A VI AT A 




Itut 1 find 
If mj hop 
If yet hon 



Aa the curtain rues Flora and her friend* a 
and Flora Hy* ahe expecla yioletta will aoc 
remarking with asaumed indifference that 
begina to gamble and wina heavily. 

The Baron appear^ accompanied by yioltlla, who ia agitated a 
but he pretend* not to aee her and challengea the Baron to a game, again vi 
amounta. Supper ia onnounced and oil leave the room except i'iolella and Alfrtd, vtio 
linger behind. He chargea her with her falaeneB, and. in furtherance ol the promise 
made to Cttrrtont, (he pretend* to him that ahe lovea the Baron. Alfttd then lo*ea all con- 
trol over himielf, and throwing open the doors, he calla to the guest* to re-enter. 

Quests donna conoacete (Know Ye All This Woman ?) 

By Alberto Amadi, Tenor {In Italian) *63314 10-inch, *0.79 

Pointing to Vhleaa, Alfnd cnea wildly: 



t Lnovr* nothing of Violttta't whcreabouto, 

■ight of AUrtd, 
g Urge 



T. bILndEy, basely, wretchedly. 



Then follow* the splendid finale, one of the grea 



Alfredo, di qiiesto core (Alfred, Thou Kno'west Not) 

By Giuseppina Huguet, St^aao : G. Pini-Corai, Tenor ; Ernesto 

Badiai, Baritone: and Chorus {In Italian) 58392 ll.inch. f 1.00 

The emotiona of the various characters are expressed by the librettist as follows : 



To wou 


nH th 


s fatally 


on 


who has 
































































a sbamcf 







Offends all pre* 
To punish Ih* I 

'Ah!"ov'd'Alf?"; 



t aiainst this la 
behold me read 



May Heaven in pity then spare thee remorse! 

(Cfrmont aott "•! ivpporlmg Alfrtd. tuho is 

almost in a ilaA of collaptt. _ Tht fainting 



Remorse and horror to me remain. gutltl begin to diiptrii at Ikt curtain fallt.t 

DoakkfttaiRiarJ—ForaSt^mia1^>iifmDOUaLEJ'ACEDLATRAVIATARECORDS.Pf44l. 



VICTOR BOOK OF THE OPERA-VERDI'S TRAVIATA 

ACT III 

{Violetta'a apartment. She haaleep on the couch, while her maid dozes by the fire) 

As the curtain rises the doctor's knock is heard, and Dr, Grenoil, Violetta 's physician, 
enters and attends his patient, afterwards telling the maid that she has not long to live. 
Left alone, ytoleita reads again a letter she has received from Gennont. 

" Thou hast ifcep/ thy promise. The duel took place and the Baron was wounded, but is 
improoing, Alfredo is in foreign countries. Your sacrifice has been reoealed to him by me, and he 
will return to y^u for pardon. Haste to recooer; thou deserveth a bright future. " 

Georgio Germont 

"Alas, it is too late,** she exclaims, and sings her beautiful and pathetic "Farewell.** 

Addio del passato (Fare^rell to the Bright Visions) 

By Alice Nielsen, Soprano 

By Marie Michaf|f>w^a, Soprano 

Violetta: 

Farewell to the bright visions I once fondly 
cherish'd. 

Already the roses that deck'd me have per* 
ish'd; 

The love of Alfredo is lost, past regaining, 

That cheer'd me when fainting, my spirit sus- 
taining. 

Alfred now enters, filled with remorse, and asks forgiveness, which is freely granted ; 
and Violetta, forgetting her illness, plans with Alfred to leave Paris forever. They sing this 
melodious duet, "Gay Paris We*ll Leave With GJadness.** 

Parigi o cara (Far from Gay Paris) 

By Alice Nielsen and Florencio Constantino (Italian) 74075 12-inch, $1.50 
By Amelia Rizzini, Soprano, and Emilio Perea, Tenor *62067 10-tnch, .75 

At the close of the duet Violetta 's overtaxed strength gives way, and she collapses in her 
lover*s arms. He notices for the first time her paleness, and is much alarmed, sending the 
maid to call the doctor. Dr. Grenoil soon enters, accompanied by Germont, and after an 
affecting scene, in which Germont blames himself for all that has occurred, Violetta expires, 
and the curtain falls on a sorrowful tableau. 



(In Italian) 64068 10-inch, $1.00 
(In Russian) 61178 10-inch, 1.00 

Pity the strav one, and send her consolation, 
Oh, pardon her transgressions, and send her 

salvation. 
The sorrows and enjoyments of life will soon 

be over, 
The dark tomb in oblivion this mortal form 

will coyer 1 



DOUBLE-FACED AND MISCELLANEOUS TRAVLVTA RECORDS 



{Prelude By La Scala Orchestra 

L 'JIfricana — Marcia Indiana By La Scala Orchestra 

rraviata Selection By Pryor*s Band 

Trovatore Selection By Pryor's Bandj 

{Alfredo, di questo core By Hutfuet, Pini-Cor si and Badini 
Ruy Blas^O dolce volutta By Qrisl and Lara (In Italian) 

Fei miei bollente (Wild My Dream) By Perea (In Italian) 
Emani — Ferma crudele ^ Bernacchi, Colazza and de Luna 

on sapete (Ah, You KnoiKr Not) By Ernesto Badinilj^Q2ft 

Manon — Qavotta • By QiusepfAna Huguet (In Italian)) 

(Di Provenza il mar By Ernesto Badini (In ^'^''^'>)l^</)oi 

1 Pura siccome un antfelo By Battatflioli and Badini (In Itahan)] 
j Ah, fors* k lui By Giuseppina Hu^et 

Sempre libera By Hu^et and Lara 

Un di felice, eterea By Trentini and Martinez-Patti 

Parigi o cara By Amelia Rizzini, Soprano, and 

Emilio Perea, Tenor (In Italian) 

Pura siccome un antfelo By Renzo Minolfi (In Italian) 

Libiam nei lieti ealici (^Bumper Well Drain) 

By Rizzini, Perea and Chorus (In Italian) 
Dei miei boUenti spiriti By Alberto Amadi (In Italian) 

Quests donna conoscete By Alberto Amadi (in Italian) 

* DoMtJ'aeeJRtcord—For tttk ttfopnoUk tide $et dbooe IkL 



68027 12-inch, $1.25 

35076 12-inch, 1.25 

68070 12-inch, 1.25 

68156 12-inch, 1JS5 






10-inch, 1.00 
10-inch, 1.00 
10-inch, .75 



62067 10-ineh, .75 

62415 10-inch, .75 
63314 10-inch, .75 



441 




(Gtmun) (luUia) 

TRISTAN UND ISOLDE TRISTANO E ISOTTA 
TRISTAN AND ISOLDE 

{TiImJob and IiM^^lk) 

OPERA IN THREE ACTS 

Worda and miwic by Richard Wagner, die plot being derived from an old Cellic poein 
of the ume name, written by Gottfried of Strasburg. who fiouriahed m the (hiiteenth 
century — though Wagnei jbae changed the narrative jufficiently to make it hit own. Trlslan 
it one of the mort popuW of legendary heroes and haa been treated of by numeroua 
writers, among ihetn Tennyion, Matthew Arnold and Swinburne. 

Wagner'i Trittan unJ Itoldt wa* fir« presented in Munich, June 10. 1665. Pint London 
producdoD June 20^ ISSZ. Fint American peifonnance in New York. December I. IBBS. 



VICTOR BOOK OF THE OPERA— TRISTAN AND ISOLDE 



Characters 
Tristan, a ComUh knight, nephew of King Mark. .Tenor 

KING Hark of Cornwall Baa* 

Isolde, Princeaa of Ireland Soprano 

KURVENAL. TriMan'a devoted lervant Baritone 

MELOT, (Mai/ Jul) one of King Mark's courtiers Tenor 

BRANCANE, (Bun-W-wA) Isolde's friend and 

attendant Soprano 

A Shepherd Tenor 

A Steersman Baritone 

A SAIU»t Lad Tenor 

Chorus of Sailors, Kni^ts, Esquire* and Men-al-Arms. 



Althou^ completed in I8S9, Tristan was not produced 
until six yean later. Through the strenuous efforts of King 
Ludwig I] of Bavaria, it wa* ultimately brought out in 
Munich with diatinct artistic success — Schnorr, the tenor, 
scoring hiilliantly in the rOlc of Triilan. Previous to (his 
time, however, it had been underlined for performance in 
Vienna, but was abandoned after lifty-aeven rehearsals. 

The opera did not find its way to America until it was 
- venty yt 





M. but . 

grown steadily in popularity. 

This great drama of love and hatred, with its won. 
derful music, is now quite generally admitted to be the 
finest of the master's operas. Written at the time of 
Wagner's own love affair (with Mathilde Wesendonck), 
it is supposed that he sought to emphasize the fact that 
love cannot alivays be bound by conventions. 

Tritlan, a Cornish knight, has a quarrel with MeratJ, 
an Irish chieftain who had been sent to collect tribute, 
and kills him; and after the custom of the time, sends 
back his head, which is given to bis affianced, an Irish 
princess, laoUf. Triilan himself had received a danger- 
ouB wound which fails to heal, and he resolves to aaaume 
the name of TanMi and seek the assistance of Iieide, who 
is famed for her knowledge of the art of healing. Itolde, 
however, recognizes him by a notch in bis sword, which 
(its exactly a piece of metal she had extracted from the 
head of Morold. She plans to kill hiro, but falls in love 
instead, while he merely sees in her a good wife for his 
uncle. King Mark. 

Preludio (Prelude) 

By La Scab Orchestrs 66210 13->nch, *U5 
The first act shows the deck of the ship which is conveying lictdt and Trialan to Cornwall, 
she having accepted King Marlt'a proposai made through his nephew. During the vcryage, 
however, uie refusal of Trttlan to see her, the exultation of the sailors over the killing of 
Morold (which freed Cornwall from its subjection to laolde't royal father), and detestation of 
the loveless marriage she is about to contract, infuriate the Princess, and she resolves to die 
and drag Trialan down to death with her. She tells Trialon she is aware of his crime in kill- 
ing her lover, and demands vengeance. He admiu her right to kill him and offers his sword, 
but she bids hei maid, BrangSnt, prepare two cups of poison from her casket BrangBnt. 
unwilling to see her mistress die, secretly substitute* for the poifcn a love potion, the effect 
of which is immediate, and the lovers sink into each other's shn* just as (he ship ap- 
proaches the shore and the King arrives to claim his bride. 

Act II takes place in the garden outside ItoiJe'i chamber. The King has gotie on « 
fawitting expedition, but BraitgOnt fears that it is merely a ruse, end thinks the King's cour. 



VICTOR BOOK OF THE OPERA— TRISTAN AND ISOLDE 




lier. Melal, •uipecU the true Hate of afiair*. Branglint then canfene* 
that ike intentionaUy (ub^tituled the philtre for the poiMned cup in. 
tended for Trtilaa. 



i 1 been dufind 



HuI thr disiriM, 

Thy distrsition of irief. 

My wock haa contnved them, 

Thii conf ewon meet! with but faint reproaches from liUJt, i 
henelf up wholly to the intoxication of the potion, and ai 



sap henelf up whi 
^nh grawing eialtati 

I w 

By J, 



German) 68165 12-iiiGh. *3.00 



Refuung to heed BrangOne'i waminK, IiolJe givea the lignal for Tritlan't coming by es- 
tinguiahing the torch. He appears, and a long love scene ensues, interrupted by the return 
of the King, who aurpriipa the lovers in a fond embrace. Motk bitterly reproaches hia 
nephew, and Mtlot, shouthig "treason," stabs Triiian, inflicting a fatal wound. 

The third act shows Triilan dyiag of the wound at his castle in Brtlagne, whither he 
has been carried by his faithful servant, Kimaial, who has aent for Itoldc, knowing that 
■he alone can cure hia master's wound by means of her healing arts. 



VICTOR BOOK OF THE OPERA— TRISTAN AND ISOLDE 



DcBpairing of her coming, Tristan in his delirium teara off hi* handages and U at the 
point of death when Iiolde airivea, and die* in her arma. King Mark uid hi* couitieri. 
clo«ely puiBuiag Itotdt, now arnve and are attacked by Kurvtnal, who kill* Mttol and i> 
himself *]ain by Mari^ 'i aoldien. Mark, aeeing Triitan dead and 
laoUe ■eiueleu on his body, repent* his rage and give* way la 
grief. lioldt revive*, and when she realize* that Triitan i* dead, 
her grief bur*t* forth in the heartiending Laae-Dtalh moHoe: 



I j!'^' J 11 1 1= 



of 7>i)/on. ""' 

Isolde's Liebestod (Isolde's Love-Death) 

By Johanna Cadski, Soprano 

{In German) 8805S 12-inch 13 Oil 
By Victor Herbert • OrcheiCr* 

(D-Miik-factJ—Stt Ultv) iSO*l 12-inch. l 50 

By La ScaU Orchettra (Dwl/e-Aa.^— &c kbw) 

66210 12-inch. 1 29 




DOUBLE-FACED TRISTAN AND ISOLDE. RECORDS 
/Isolde'* Liebestod (I«alde*s LoveDcath) By Herbert's Orctl.,- ., ,- . „. ,, „ 
\ FMum. (Dreams) (tfoff^O By l^lclor HeH,.ri: Orcheslra("°*^ I2-mch. »1.90 




(Bndiih) 

IL TROVATORE THE TROUBADOUR 

OPERA IN FOUR ACTS 

Word* by SalvBlore Cammanaro, the Uory being BUSgeMed by a Spamsh dranid of the 
ume name. Music by Giuaeppe Verdi. Produced at the Teatio Apollo, Rome. January 19. 
1653; at ibe Th^ln da Ilaliaa, Paris. December 23. 1834; at ihe Opiia, ParU. u 
Le Trouv^re. January 12, 1857; a( Covent Garden. London, May 17, 1835; In Engllih ai The 
Gypv'' Vtngtance. Drury Une. March 24, 1856. First New York production May 17. 1855. 
with Brignoli, Amodio and Vestvall. In German, at the Metropolitan Opera House, in 1889. 

Chine ten 
LEONORA,(Li«iA-nciA'-mA)anobleladyoftheCouTto(anAragon Princes*. .Soprano 

AZUCENA (^At.v«i.uu'-naA) a wandering Biscayan gypsy Mezzo.-S<^rBno 

Inez. IEe'-ru) attendant of Leonora Soprano 

MANRICO, (Men-w'^nA] a young chiehain under the Piince of Biscay, 

of myMerious birtb, and In reality ■ brother of Count di Luna Tenor 

COUNT DI LUNA, (dH Loq'jkA) a powerful young noble of the Prince 

of Arragon Baritone 

FERRANDO, a captain of the guard and under di Luna Bau 

Ruiz, a soldier In Manrico's service Tenor 

An Old Gypsy BaKtone 

Also a Messenger, a Jailer. Soldierv, Nuns, Gypsies. Attendants, etc. 

Scene and Period: Btxay and Aragon; fifietnth ctnlury. 

ACT 1 
SCENE \— Vestibule In Alteferia Palace 
As befits a tragic vfork,^ Trooatore open* in an atmosphere of romance and mystery. 
The retainers of Count dl Lkna await the arrival of iheir master, and to beguile the time Fer- 
rando relates the history of the Count's childhood and the lots of his brother. 

Abbietta ziatfara (S^'arthy and Threatenincf) 

By Torres de Luna and La Seals Chorus (In Ilallan) *62416 10-iach. tO.ZS 



VICTOR BOOK OP THE OPERA— IL TROVATORE 

The brother, km an infant, catne under the evileye of a witch, who waa teized and con- 
detnned to the (talce. Thia witch had a dauBhter, who determined to avenge her mother'a 
fate, with the resuh that the Count'a younger son diuppeared; and after the witch'* bumiag 
theie w«« discovered upon the pile of chaired emben the bone* of a child. Tliii atoTy la 
told in the Abbletia to a fierce rhythmical tune^ eipreuing all ihadea of horror. 






















r,;r£.,. 








i Ifai 


&.r 


.d n 




rs'ZTi,'™ 










rose — 






















S'l 




^i/r 


niys 


leries,>»rang( 


OVr 


fhi 


" babe 


,1,, 


■ping— *i lb fi. 
















„K.; 






Horn 









And the ditk intruder w» soon expelled. 

Soon Ihey found Ibe child was failing, 

Coming daiknest appal I'd him. 

Tbe hag-a dark spell enthrall'd him! 

lAll apptor AorriAd.) 

Sought they the gypsy, on all sides turning, 

Seii d and condemn d her lo death by hurnine 

One child, accursed, left she remaining. 

Quick to avenge her. no means disdaining. 

Thus she accomplished her dark tetrihuiionl 

Lost was the Count's child: search unavailing; 



Suir orlo dei tetti {As a Vampire You May See Her) 

By Tocrca de Luna. Ba*(. and La Scala Chorua *1665» lO-ioch. Hi.76 

To the voice of the naimtor ia added the awe-atricken whiaper* of the chom*, whiiik 
afterwards awell into a cry 
of fierce denunciation. The 
foreboding bell and an inatru- 
mental diminuendo completf^ 
the picture, which makea a 



fittin, 



nclu* 



aome story. 

The clock strike* twelve, 
and with erica of "Curaed be 
the witdi infernal t " the retain- 

SCENE W-Tht GarJtn, oftht 
Palace 
The fair Leonora now ap- 
peara with her faithful com- 
panion, Intx. She confide* to 
Inex her interaat in the un- 
known knight whom ahe had 
firat aecn at the Tournament, 
and aing* her firat number. 




VICTOR BOOK OF THE OPERA— IL TROVATORE 



88420 


12.inch, 


$3.00 


92026 


1 2-inch, 


3.00 


74116 


1 2-inch, 


1.50 


♦35214 


12-inch, 


1.25 


*16655 


10-inch, 


.75 



Tacea la notte placida (My Heart is His Alone) 

By Luisa Tetrazzini, Soprano {In Italian) 

By Celestina Boninscffna. Soprano {In Italian) 

By Gina Viafora, Soprano {In Italian) 

By Edith Helena, Soprano {In English) 

By Lucia Crestani, Soprano {In Italian) 

In this wistful air, so unlike the weird music preceding it, she speaks of the Troubadour 

who serenades her, and of the feelings which have been inspired in her breast by his song. 

Leonora: 

How calm, how placid, was the night! In tones so sweet and thrilling, 

The cloudless sky, how clear, how bright! Breathing to Heav'n an earnest pray'r, 

The moon in splendor shed her light. Nfy heart with deep ioy fjlling. 

And all was hushed in peace around! I heard a voice oft neard before. 

Suddenly, on the midnight air, My long-loved knightly Troubadour! 

The ladies go into the house just as the Count, who is also wooing the fair Leonora, ap- 
pears to watch under .Kmt window. He has barely taken his station, when the lovely song 
of the Troubadour is'tvekidi 

Deserto suUa terra (Naught on Earth is Left Me) 

^^ By Nicola Zerola, Tenor {In Italian) 64172 10-inch, $1.00 

^^ ^^ In this beautiful serenade, one of the gems of the opera, the Trouhu' 

W^^V dour sings of his lonely life and the one hope that remains to him. 

^^^g Manrico: 

^▲^^BL Lonely on earth abiding. Rut that fond treasure gaining, 

Warring 'gainst fate's cruel chiding. In faith and love obtaining, 

Hope doth one heart implore, High o'er all kings would soar, 

To love the Troubadour! The happy Troubadour! 

The Count is filled with rage as Manrico appears and confesses his 
love in song, and when Leonora comes forth to greet her lover, the anger 
of di Luna bursts in a storm upon them both, in the strain with which 
this number opens. 

Di geloso amor sprezzato (No^w My Vengeance) 

By Antonio Paoli, Tenor ; Clara Joanna, Soprano ; Francesco 

Citf ada. Baritone {In Italian) 9 1 082 1 0-inch, $2.00 

By Maria Bernacchi, Soprano ; huigi Colazza,Tenor ; Ernesto 

Caronna, Baritone {In Italian) * 16808 10-inch, .75 

Manrico defies him and they agree to fight to the death. Leonora 
implores her lover to stay, but is unable to restrain the jealous passion 
which inspires the rivals, and after the powerful and exciting trio they 
rush out with drawn swords, while Leonora falls senseless. 

ACT II 

SCENE 1 — A Cj/psj^ Camp in the Biscay Mountains 

We are now^ in the gypsy encampment at early morning, as the shad- 
co^'T HisNRiii ows of night are passing away before the dawn. The men are beginning 

ZEROLA AS UANKico work, and in this, the famous Anvil Chorus, they hammer as they sing. 

La zingarella (Anvil Chorus) 

By La Scala Chorus {In Italian) *62418 10-inch, $0.75 

By Victor Orchestra 17231 10-inch, .75 

By Victor Male Chorus {In English) 1258 10-inch, .60 

The rwinging tune is accompanied by the ring of blows on the anvil, and the rough 

voices of the men and the sound of the hammers make a truly impressive musical picture. 




un- 



Chorus of Gypsies: 

See how the shadows of night are flying! 

Morn breaketh, Heav'n's glorious arch 
veiling: 

Like a young widow, who, weary of sighing, 

Lays by her garments of sorrow and wailing. 

Rouse up. to Tabor! v*^ 

Take each his hamlffe^. 
Men: 

Who makes the gypsy's, a life with pleasure 
laden ? 



Women: 

Who makes the gypsy's, a life with pleasure 
laden, who? 
All: 

The gypsy maiden! 

See how the sunlight, radiantly glowing. 

Borrows new beams from our wine cups o'er- 
flowing! 

Resume our labor! Take each his hammer! 

Who makes the gypsy's life, etc. 



*Double-Faeed Record— Fortttle afopposUeslJe me DOUBLE-FACED IL TROVATORE RECORDS, page 457. 

449 



VICTOR BOOK OF THE OPERA — IL TROVATORE 



Azucenat the gypsy, who now appears, proves to be none 
other than the w^itch's daughter spoken of in the first act. In 
the highly dramatic song allotted to her she relates to Manrico 
the dreadful story of the death of her mother, who had been 
burned at the stake as a witch by the father of the present 
Count di LMna. 

Stride la vampa (Fierce Flames Are Soaring) 

By Louise Hoooier, Contralto 

{In Italian) 87033 10-iach, $2.00 
By Lina Mileri, Contralto 

{In Italian) * 16808 10-inch, .75 

In the aria she mentally lives again through the scene of 
her mother's execution, each horrible detail of which is indeli- 
bly imprinted upon her memory. 

This wild contralto air in the minor, with its deep, rich, 
and ever-changing tones, is well suited to so grim a recital. 



Upward the flames roll; the crowd presses 
fiercely on, 

Rush to the burning with seeminf? gladness; 

Loud cries of pleasure from all sides re-echo- 
ing! 

By guards surrounded — forth comes a woman! 

While, o'er them shining, with wild, unearthly 
glare. 

Dark wreaths of flame curl, ascending to 
heaven ! 

Upward the flames roll! on comes the victim 
still; 




COPY-T MCIMTOSH 



HOMER AS AZUCENA 



Robed in dark garments, ungirt, unsandal'd: 

Fierce cries of vengeance from that dark crowd 
arise; 

Echo repeats them from mountain to moun- 
tain. 

O'er them reflecting, with wild, unearthly 
glare. 

Dark wreaths of flame curl, ascending to 
heaven ! 



The rendition of this thrilling air by Mme. Homer is a most dramatic and impressive 
one ; while an excellent lower-priced record is furnished by Mme. Mileri. 

Questioned by Manrico, Azucena tells him the story of her past. In obedience to her 
mother's last cry for vengeance, she stole the Count's young child, and threw it on the flames 
where her mother was consumed. But she soon discovered that in her frenzy she had 
destroyed her own infant, and preserved the child of the noble. Wild as was the previous 
air, this proves a still more dramatic setting of the conclusion of the story. The orchestral 
accompaniment crashes, wails and sobs, the voice rises and falls in hatred or terror, 
until at last the gypsy sinks exhausted with the stress of emotion that her tale has excited. 

Condotta eirera in ceppi (In Chains to Her Doom They Dragged 
Her) 

By Lina Mileri, Contralto {In Italian) *35 1 76 1 2-.inch, $1^5 

The story has set Manrico thinking. '* If your son perished,** he asks, *' whose child am 
1 >** But the gypsy, with a born instinct for dissimulation, avoids the question, still claiming 
him as her son. She reminds him of the almost fatal wounds received in an attack from the 
Count di Luna and his men. from which she had nursed him back to life. 

Azuckna: 

To me thy life's protection thou owcst. 

At midnight, on the field of battle 

My cares revived the vital spark 

Many hours did I tend thee, healing thy wounds. 

So ghastly and numerous! 

Mai reggendo airaspro assalto (At My Mercy Lay the Foe) 

By Louise Homer and Enrico Caruso {In Italian) 89049 1 2-inch, $4.00 

By Clotilde Esposito and Luitfi Cola22a (In Italian) *16550 10-inch, .75 

In the opening strain of this air, Manrico tells of his single combat with the Count, in which 
by an irresistible impulse, after felling his antagonist to earth, he^<i^>ared the noble's life. 
The voice of the gypsy then bids him never again to allow their eitemy to escape, but to 
unhesitatingly administer the death-blow. Manrico's story of the duel is expressed by a 

* Dwxblt-Factd Record — For titte of oppotile aide see ii$t on pages 456 and 457. 

450 



VICTOR BOOK OF THE OPERA— TL TROVATORE 




the 



igoroua cJ 



bold 

of the duel. 

SCENE U—Thc Ool$Ur> of a 

In ihii (cene we return 
to the fortunes of the Count 
and Leonora. She, believing 
the Troubadoai to have been 
killed, presumably in ■ recent 
duel with hi. rival, hu deter- 
mined to enter a convent. Dl 
Lana appear* in front of the 
convent with the intention of 
carrying her away before the 
ceremony •hall have talten 
place, and aing* hii famoua 
air. "Ilbalen." 

II balen del suo aorrlso (The Tempeat of the Heart) 

By Emilio dc Gogortt. Baritone (In Italian) 8SI79 I2'iach. *9.00 

By Francesco Ci^da, Baritone (In Italian) *168I2 10-inch. .7» 

By Alan Turner. Baritone {In Enghih) *16521 lO-inch. .76 

Thia aolo almost wins the Giunf our tympalhy, in spite of ourselves, so genuine and heart. 

fell an eKpression of the lender passion it is. 

CuvNr: 

(JI hrr smilr, Ihc radiant glcaminE Ah! this lore wilhin mc burning, 

Palfs Ihe Marli^hl^s brightest rcfltction. Moic Ihan ivoiiia shall pkad on my pjrl. 



Per 



tne ora fatale (This Passion That Inspires Me) 

By Erncato Csronos, Bsritone, and La Scala Chorua 

(Inllaltan) •16814 10-inch. 10.79 
This declaration is expressed in a vigorous air. 

auHT (furiously): 

Oh. hour of fate to me. No rivsr can 1 have: 

UtfUn Ihv lagging momenls. No one dare my love to thwart! 

The joy that 1 anticipate For me halh fair design ■<] her. 



They o 



■ml ther 



>elve 



g the trees as the chant of the i 






Ah ! se Terror t'ingombra {'Mid the Shades of Error) 

By Francesco Citfida. Baritone, and La Scala Chorus 

{In Italian) *16S»0 10-inch. >0.79 
They sing of the coming retirement of Ltonora from ihe world, while from their place 
of concealment the Count and his retainers speak of their coming triumph. 

Cho«us op KuNe: 



• DvAltJ'aaiRtcBfJ—FQT mk i/nffwNi ilJe < 



Will open to receive thee! 
<, DOUBLE-FACED IL TROVATORE mC(mDS.p^457. 




corv'T BuFoar « 

UAXTIN AS MANRICO 



VICTOR BOOK OF THE OPERA — IL TROVATORE 

Count: 

Triumphant hour impending. 

Thy moments urge with speed elating, 

The joy my heart's awaiting, 

Is not of mortal birth. 

In vain doth Heaven, contending 

With rival claims, oppose me. 

If once these arms enclose thee. 

No power in heav'n or earth, 

No pow*r shall tear thee from me! 
Ferrando and Retainers: 

How bold! Let's go— conceal ourselves 

Amid the shades in haste. 

How bold! — <romc on — and silence keep, 

The prize he soon will hold! 

As the nuns appear, conducting the penitent, the Count's 
retainers rush out and seize Leonora. 

The calculations of di Luna are once more upset, for just 
he interrupts the ceremony, Manrico unexpectedly appears. 
Leonora, overjoyed to find her lover still living, begins the great trio. 

E deggio e posse crederlo (Blessed Vision) 

By Grisi, Szngior^u CigtLda, and Chorus 

(/n Italian) *35 1 76 1 2-inch, $ 1 .25 

Leonora foregoes her religious vows, and the lovers, for the 
time united, make their escape, to the chagrin of the baffled 
Count, while his men are defeated by Manrico's followers. 

ACT III 

SCENE 1— The Camp of di Luna 

Squilli eeheggi la tromba (Soldiers* Chorus) 

By New York Grand Opera Chorus (In Italian) 64050 10-inch, $1.00 

Act 111 opens with the chorus of di Luna's men — called the Soldiers' Chorus. In spite of 

the wealth of melody already heard in this work, here is yet another marvelous number, 

which vrorks up to a powerful climax, and then dies away sofdy, as these Trooatore choruses 

so frequently do. 

Soldiers: ^ Ne'er more brilliant were prospects victorious 

Now let the trumpet in war tones resounding. Than the hopes which our hearts now elate. 

Call to arms, with courage bold, we'll march Thence, we'll gather renown, bright and glo- 

undaunted. rious 

Haply, to-morrow, our proud foes confounding Pleasure, honor and profit there await us. 

On those walls shall our banners be planted. Honor and booty for us there await. 

Giomi poveri vivea (In Despair I Seek My Son) 

By Ida Maooielli, Soprano ; Renzo Minolfi, Baritone ; Cesare Preve, 

Baritone: La Scala Chorus (In Italian) *35177 12-iiich, $1JI5 

A scouting party from the Count's troops have fallen in with Azucerui, and now bring 
her to the Count as a possible spy. Inquiries as to her past immediately connect her with 
the episode of the Count's childhood, and Ferrando declares her to be the murderess of 
di Luna 's lost brother. Azucena in her extremity, cries out the name of ManrioK and the Count, 
finding she claims the Troubadour as her son, vows upon her a double vengeance, and she ia 
bound and dragged away. The gypsy's pleading, the Count's threatening anger and triumph, 
with the accompanying chorus, combine to make a moving and dramatic ensemble. 

SCENE W—Manrico's Castle 

The scene changes to the castle wherein Manrico and Leonora are at last enjoying a brief 
honeymoon, though in expectation of an attack from the baffled Count di Luna. Here Man- 
rico sings a tender and affectionate farewell to his beloved ere he departs to repel his rival's 
assault. 

Ah, 8i ben mio (The Vows We Fondly Pli^^d) 

By Enrico Caruso. Tenor (In Italian) 88121 12-inch, $3.0O 

By Giorgio Malesci, Tenor (In Italian) * 16809 10-inch, .75 

* Doubie-FaceJ Record — For tfik of oApoi/te dde mt lial on pagea 456 and 457. 

452 



i OOK OF THE 



OPERA— I L TROVATORE 




a delightful relief after K> 



Alone apptar 



Ilea 



witl d 



'l Quietnen xxin depart!, (or the new* come* that the BttBcking 

party have captured /Izactna, and are piling up faggot* around 
the *(ake at which the i* to be burnt. Maddened at the approach' 
ing outiage upon one whom he believe* to be hia mother, Manrtco 
prepare* to ruah to her auistance. The air with choru* which 
form* the cUmax to thi* *cene i* full of martial fire. 

Di quella pira (Tremble Ye Tyrants) 

By Frmcetco Tamstfiio. Tenor 

On Ilallan) 95CK>6 lO-inch. f9.00 
By Antoaio Paoli. Tenor, aad La Sola 

Cbocu* {In Ilallan) 92032 12-iach, 3.00 

Caruao, Tenor (/n Italian) 87O01 lO-JOch, 2.00 

ZeraU. Tenor (/n Ilalian) 641 70 lO-inch, l.OO 

■iovanoi ValU. Tenor, and La Scala Choru* 

(/n Italian) *16S09 lO-inch, .75 
I up to by • very powerful introductory passage, and the high note* at the end. 
I rohu*t tone*, never fail of their effect. 



IT you ^/iTIaU. 









J of thi* number 



the two Camou* high C'a being 

Tamagno'* Manrtco wa* a 
figure of noble proportion*, 
and he endowed it with all hi* 
■plendid vitality. Such a high 
C had never before been 
heard, and it electrified the 
audience*. The record of Dl 
quella plra i* ■ faithful tepro- 
duclion of the great ainger* 
rendition of the famou* aria. 
Paoli, the famou. Milan 
tenor, alao give* a vigorou* 
performance of this great 

Endition*. at a 



Other fine 



Zerola and by Signer VbIu. 
aaaialed by La Scala Choru*. 




.iJtwK DOUBLE-FACED lLTROfATOR£RECORDS.par,457. 



VICTOR BOOK OF THE OPERA— IL TRO VATORE 



ACT IV 

SCENE \-EiUrior of Iht Palaa of AUaferia 
The laal act bring* ui outaide the palace of AUafaia, wherein Manrieo, defeated by 
JlLana'i men, and the gyspy, are conAned in the dungeont. Hither Ltanara has wended her 
way to be near her tover, and (he now ainga the plaintive D'amoT. 

D'atnor auU* ali rosee (Love, Fly on Rosy Pinions) 

By LuiM Tetnizini, Soprano {In Italian) 66426 12-inch. *3.00 

By Johanna Gsdfki, Soprano (/n Italian) 88379 12-incb. 3.00 

By Lucia Crcftani, Soprano {In Italian) *I66I0 10-inch. .79 

Thia aad but melodioua air reveal* her heartfelt grief for the aorrow* which ^e cannot 



onsoLe his spirl^Ilmg. 

el hc.p.:> wft whisper* *r«lhin 



I hover round thM, my love! 

Ye moanrng hr«KS round me playing. 

In pity aid me, mv ?.igln to him conveyii 

Ika/i"/ my"fiM°fs"Md w«mng. nntVirtno'acMnl'rrvVaVlo t 

\isil the prisoner-! lonely ceU. The sorrows, the griefs my hi 

And now cornea Verdi** moat famou* operatic acene, the great MUtrert. 



Miserere (I Have Sighed to Rest Me) 

By Enrico Caruso, Tenor: France* Alda, Soprano; 

Choru* of the Metropolitan Opera {In Italian) 

By Ida Giacomclli. Soprano : Gino Martinei-Patti. 

Tenor: La Scala Choru* {In Italian) 

By Eliac Stevenson. Soprano; Harry Macdonoutfh. 

Tenor: Victor Male Choru* [In Engb,h) 

By Stevenion. Macdonough and Choru* {In Engllih) 

By Arthur Pryor and Emile Keneke {Trombont-Camel) 

By Walter Roger* and Arthur Pryor (drneZ-T'rmD^ne) 

Ltonora i* lerror-itricken at the solemn tolling of a deep-loi 

chorus of prieats chanting for the aoul of a doomed prisoner. 

PHIESTS: 



89030 12'iDch. »4.00 

96366 12-iiich, I.OO 

31703 12-inch. I.OO 

*16013 10-inch, .79 

♦16371 lO-incb. .79 

*167»4 10-inch. .75 
led bell and the rootimful 




follow; 
eav^nly mercy allays the pangs of parting. 



Th 

wst 


en follow* an 
ta, leading to a 


aUb^i^r 


" 


elT 


rie. of 

ofj:.«> 




Leonoba: 
What voice* 


of lerro 




Fo 


whom 




w!'.'"^^:m^ 


s of fea 


V, 


nkn 


wn. thc 




New horrors 


assail me 


.-n 


y se 


r,vr^ 



In upon thi* there break* the beautiful air of the 
Troubadoar, sung within the prison, folkiwed by ■ joyful 
cry of devotion from hi* beloved. 



These fragments, first given separately, are next combined &d heard together, forming 
a most impressive acene of touching beauty, for which the opera of II Trovalort will ever be 
remembered. 
'DtKiik-FaaJftta'jl— FBillik a/appaiiitiidtwi DOUBLE-FACED ILTROyATORERECOKOS.pmti^Sr. 



VICTOR BOOK OF THE OPERA— IL TROVATORE 

The entrance of di Luna brings from Leonora a prayer for mercy for the prisoner. The 
appeal is unheeded, or rather it appears to increase the triumph which belongs to the Count's 
vengeance. The appeal of the unhappy woman and the fierce joy of the gratified noble are 
powerfully expressed in this magnificent duet. 

Mira d*acerbe lagrime (Oh, Let My Tears Implore Thee) 

By Johanna Gadski, Soprano, and Pasquale Amato, Baritone 

(In Italian) 89069 12-inch, $4.00 

By Emooia Eames, Soprano, and Emilio de Gofforza, Baritone 

(In Italian) 89022 12-inch, -^4.00 

By Celestina Boninsetfna, Soprano, and Francesco Citfada, Baritone 

(In Italian) 91077 10- inch. 2.00 

By Maria Bernacchi and Ernesto Caronna (in Italian) * 168 10 10-inch, .75 

In the extremity ^P^espair, Leonora makes one last effort. If the Count will spare the 
one she loves, she wiH consent to become di Luna 'a wife. She swears to perform her 
promise, at the same time intending to take poison as soon as Manrico is free. Di Luna's 
wrath is now changed into joy, while Leonora, forgetting her own fate, is filled with happiness 
at the thought of the Troubadour's release. This situation gives opportunity for another 
wonderful duet of a most thrilling character. 

« 

Vivra ! Contende il giuhilo (Oh, Joy, He*s Saved) 

By Johanna Gadski, Soprano, and Pasquale Amato, Baritone 

(In Italian) 89070 12-inch, $4,00 

By Boninsetf na and Ci(fada {In Italian) 91071 1 0-inch, 2.00 

By de Antfelis and Citfada (In Italian) * 168 11 10- inch, .75 

In this number the Count expresses his rapture at the success of his conquest, while 
Leonora exclaims, aside : " Thou shalt possess but a lifeless bride.** As the scene changes 
they enter the tower to secure the release of Manrico, 

SCENE W—The Prison Cell of Manrico 

Yet a third duet — the famous Home to Our Mountains. The scene has changed to the 
prison interior, where Azucena and Manrico are together, and the gypay, with the second- 
sight of her race, p'Tedicts her approaching end. 

Ai nostri monti (Home to Our Mountains) 

By Louise Homer and Enrico Caruso (In Italian) 89018 12- inch, $4.00 

By Schumann-Heink and Caruso (In Italian) 89060 1 2-inch, 4.00 

By Mortfan and Macdonouffh (In English) *35118 12-inch, 1.25 

By Vessella*s Italian Band '^35239 12-inch, 1.25 

By Mor(fan and Macdonouffh (In English) 31555 12-inch, 1.00 
By Clotude Esposito, Soprano, and Luigi Colazza, Tenor 

(In Italian) * 168 11 10-inch, .75 

By Morffan and Macdonouffh (In English) * 1640 7 10- inch, .75 

This familiar duet is considered by many to be the gem of Verdi*s opera, and when 
given by such artists as the Victor offers, it is doubly enjoyable. 

Manrico is watching over the couch of Azucena, whose strength is exhausted, and who 
ia full of vague terrors ; and he endeavors to soothe her fears. 

Manrico: Azucena: 

If any love remains in thy bosom, Yes, I am grief-worn and fain would rest me. 

If thou art yet my mother, oh, hear me! But more than grief have sad dreams 

Seek thy terrors to number, oppressed me; 

And gain repose from thy sorrows in soothing Should that dread vision rise in slumber 

slumber. Rouse me! its horrors may then depart. 

Manrico: 

r'T^est thee, oh mother! I'll watch o'er thee. 
Sleep may restore sweet peace to thy heart. 

A fierce and avenging gypsy no longer, but a broken woman whose consuming passions 
of remorse and revenge have died away, she dreams of the happy days gone by. 

* Double-Faced Record — For title of opposite tide see list on liases 456 and 457. 

455 



VICTOR BOOK OF THE OPERA — IL TROVATORE 

AzucENA (dreaming) : Home to our mountains, let us return, love. 

There in thy young days peace had its reign: 
There shall thy song fall on my slumbers. 
There shall thy lute, make me joyous again. 
Manrico: Rest thee, my mother, kneeling beside thee, 

I will pour forth my troubadour lay. 
Azucena: O sing and wake now thy sweet lute's soft 
numbers. 
Lull me to rest, charm my sorrows away. 

Both: Lull j jj^^g j to restl 

Matters now move swiftly to a climax. Leonora arrives on the scene, bringing Manrico 
the news of his freedom. The joy of meeting is all too soon destroyed when the prisoner 
finds his liberty to have been purchased at the cost of a happiness which is to him dearer 
than life itself. He accuses Leonora of betraying his love. 

Ha quest' infame (Thou Hast Sold Thyself) % 

By Ida Giacoooielli, Soprano : Lina Mileri, Contralto ; Gino 

Martinc2-Patti, Tenor {In Italian) *35 1 7 7 1 2-inch, $ 1 .25 

Here Azucena, who cares nothing for his passion, counsels flight. This gives the ele- 
ments of the closing trio : Manrico 's reproaches, Leonora 's ineffectual protestations, and the 
gypsy's voice through all, singing dreamily of her mountain home. With these mingled 
voices dying away into soft peaceful harmonies the musical portion of the opera draws to a 
close. 

Manrico: 

Thou giv'st me life? No! I scorn it! 'Twas from my rival thou purchased thy 

Whence comes this power? what price has mission! 

bought it? Ah! thou hast sold him thy heart*s affection! 

Thou wilt not speak? oh, dark suspicion! Barter'd a love once devoted to me! 

Leonora, who had already taken the poison, now^ sinks dying at Manrico* s feet, and he 
pleads forgiveness as he learns the truth. Di Luna now enters, and furious at finding him- 
self cheated of his promised bride, orders the Troubadour to instant execution. Manrico is 
taken out by the guards and beheaded. 

At the moment of his death, the gypsy awakes, and not seeing Manrico, realizes that 
he has gone to his execution. She drags the Count to the window and cries to him : *' You 
have killed your brother I** Di Luna utters a wild cry of remorse and falls senseless as the 
curtain slowly descends. 

DOUBLE-FACED AND MISCELLANEOUS TROVATORE RECORDS 

Gems from **Trovatore*' 

"Soldiers* Chorus" — Solo, "Tremble, Ye Tyrants" {Di quella pira) — ^Solo, 
" Tempest of the Heart " (// balen) — Duet, " Home to Our Mountains " — Solo, 
** 1 Have Sigh*d to Rest Me " — ^Ensemble, ** Miserere " 

By Victor Opera Company {In English) 31888 12-inch, $1.25 

ICondotta ell*era in ceppi (In Chains to Her Doom) 1 

By Lina Mileri. Contralto (/n //a/ian)L-- .^ i-j ;«^k i '>« 
E dc«io c posso credcrlo (Oh, Blessed Vision) >35176 12.mch, 1.25 

By GtieuSzn^ioT^u Ciffada and Chorus {In Italian)] 

Giorni poveri vivea (In Despair I Seek My Son) By 

Ida Mamelli, Soprano: Renzo Minolfi, Baritone; Cesare 

Preve, Baritone ; La Scala Chorus {In Italian) 

Ha quest* infame (Ah, Thou Hast Sold Thyself) By 

Ida Giacomelli, Soprano: Lina Mileri, Contralto: Gino 

Martinex-Patti, Tenor {In Italian) 

jHome to Our Mountains By Mor^fan and Macdonougfals^ei ia m^ * u % '»m. 

\ Huguenots— Selection, Act IV By Sousa's BandlJ^^^^ 12-mch, 1.25 

rrovatore Selection By Arthur Pry or 's Band\«--^-^ i** j-.^u i -t* 

Traviata Selection By Arthur Pryor's Band r^^^^ 12-inch, 1.25 

* DwAie'Faoed Record — For Utie of opposite tide ate ahoce ilat 

456 



35177 12-inch, 1.25 



VICTOR BOOK OF THE OPERA—IL TROVATORE 



Tacea la notte (Peaceful Was the Night) By Edith 

Helena, Soprano (In English) 

Lucia — Mad Scene (By EJilh Helena, Soprano (In English) 

/Home to Our Mountains By Vessella^s Italian Band 

By KryVs Bohemian Band. 



\ RigoleHo—Qaariei (Verdi) By KryVs Bohemian Bandy 

{Anvil Chorus Victor Orchestra] 

Forge in the Forest (Michaelis) (DescrifiHoe piece with anoil \l 

effecU) Arthur Pryor j Band] 

iAbbietta zin^fara (SMrarthy and Threatening; ) By Torres 
de Luna, Bass, and La Scala Chorus (In Italian) 

Suir orlo dei tetti (As a Vampire You May See Her) 
By Torres de Luna and La Scala Chorus (In Italian) 

(Suir orlo dei tetti de Luna and La Scala Chorus (In Italian) 



35214 12-inch. $1^5 
35239 12-inch, 1.25 
7231 10-inch, .75 



62416 10-inch, .75 



I 



16521 



16814 



LiUn; 

(Tacea la notte placida i^y Heart Ib His Alone) 
By Lucia Crestani, Soprano (In Italian) 

Di geloso amor sprexzato (No^v My Vengeance) 

By Bernacchi* Colazza and Caronna (In Italian) 
Stride la vampa (Fierce Flames Are Soaring) 

By Lina Mileri, Contralto (In Italian) 

iMal reggendo all*aspro assalto (At My Mercy Lay the 1 
Foe) By Clotilde Esposito and Luigi Colazza (In Italian) I . . « ^^ 
Ah! se le error t' ingombra CMid the Shades of Error) f***^^^ 
By Francesco Cigada and Chorus (In Italian)] 

II balen del suo sorriso (The Tempest of the Heart) | 

By Francesco Cigada, Baritone (In Italian) > 168 12 
Martha — Porter Song By Carios Francisco (In Italian) J 

fTempest of the Heart By Alan Turner (In English)\ 

\ Carmen — Toreador Song B^ Alan Turner (In English)} 

Per me ora fatale (This Passion That Inspires Me) 

By Ernesto Caronna, Baritone (In Italian) 
Pagliacd — Opening Chorus, Son qua La Scala Chorus (In Italian) 

Ah, si ben mio (The Vows We Fondly Plighted) 1 

By Georgio Malesci, Tenor (In Italian) I , ^a^o 
Di quella pira (Tremble Ye Tyrants) By Giovanni [*^«>"*' 
Vals, Tenor, and La Scala Chorus (In Italian)} 

D*amor sull ali rosee (Love, Fly on Rosy Pinions) 

By Lucia Crestani, Soprano (In Italian) 
Mira d*acerbi lagrime (Oh, Let My Tears Implore Thee) 

By Maria Bernacchi and Ernesto Caronna (In Italian) 

f Miserere By Stevenson and Macdonough (In English) 1 1 ^q i o 

\ I Would That Mjf Looe By Stevenson and Macdonough} 

fMiserere By Pryor and Keneke (Tromhone'Cornet)\.c.^yi 

\ Spring Song (Mendelssohn) By Victor String Quartet} * ^'^ ' * 

riserere By Rogers and Pryor (Comet- Trombone) 1 1 ^ 794 

Chant sans paroles (Tschaikpwsky) B^ Vienna String Quartet} 

Vivra I contende il giubilo (Oh, Joy, He*s Saved) 1 

By Angela de Angelis and Francesco Cigada (In Italian) [1 ^011 
Ai nostri monti (Home to Our Mountains) By Clotilde [ 
Esposito, Soprano, and Luigi Colazza, Tenor (In Italian)} 

Home to Our Mountains By Corinne Morgan, 

Contralto, and Harry Macdonough, Tenor (In English) [16407 
Bohemian Girl— Heart Bajit^ Do»n By Alan Turner (In English) 

Di geloso amor sprezzan> (Now My Vengeance) 

By Maria Bernacchi, Soprano; Luigi Colazza, Tenor; 
and Ernesto Caronna, Baritone (In Italian) 

La zingarella (Anvil Chorus) La Scala Chorus (In Italian) 



16655 10-inch, .75 



16808 10-inch, .75 



10-inch, .75 

10-inch, .75 

10-inch, .75 

10-inch, .75 

10-inch, .75 



16810 10-inch, .75 

10-inch, .75 

10-inch, .75 

10-inch, .75 

10-inch, .75 

10-inch, .75 

62418 10-inch, .75 



457 



THE TRUMPETER OF SACKINGEN 

OPERA IN THREE ACTS AND A PROLOGUE 

Teit by B. Buoge ; muaic by Vic- 
tor Newler. First pToduction Leip. 
■ic. 1864. Prewsnted at the Metropol- 
itan Opera HouK, New York. 1867. 
with Robiiuon and Fischer, and re- 
vived there in 1869. 

Chiractera 
THE BARON VON SCHONAU . . .Baaa 
MARJA, bia daughter Soprano 

Count ■wSjjenstein Ban 

Countess WiixiENsreN .Contralto 

DAMIAN. aan of the Count Tenor 

Werner KIRCHOFER Baritone 

KONRADIN, foot aoldier Ban 




Time and Ptact : Htijtlhtrg and SiHf 
kingcn ; itotrdttnth etnlury. 



Nesaler has taken Scheffel'a poem 
and built the charming little metrical 
romance into an operatic pioduction. 
The alory telU of a young ttudenl of 
Heidelberg. Wcmc, Klrchofcr. who, 
with his comrades, is banished from 
nu.^m inB mu-iriiiik- ~nu ■■n>u~Ki,i yui. sA i. » 1 1. 1, IB ''" "nivefaity fof Serenading an Eng- 
liah princes*. The youths join the 

army, and in due time ffemer reaches the town of SHkkingerk, 

where the peasants are on the eve of an uprising against the I 

nobles. He manages to protect the Counlai of midenttdn | 

and her niece. Maria, from the insults of the rabble, and 

later becomes trumpeter in the castle of Maria't father, the 

Bonn ven ScAonati. Ifsmcr and Marfa fall in love with each 

other, but it has already been planned that the young girl i 

shall marry Damian, the son of the Csunf of Wtldtnsttin. who | 

is expected at the castle shortly. The Counfeu surprises 

Werner making love to Maria, and the Baton angrily orders 

the bugler from (he castle. As Wtmer is departing, ^e 

Hauenstein peasants rebel against the Baron and attack the | 

castle. The trumpeter, gathering the besieged forces 

gether. succeeds in driving olf the assailants. In the me 

lime, Damian and his father have arrived, and during the Ci 

flict the young man shows himself to be a coward. Coant I 

Wilderaldn happily recognizes Werner as his long lost son, [ 

who had been stolen as a child by gypsies, and the Bann. 

reconciled, gives the Trampe'er i>f Sacking"' ^^ daughter 

Maria for a bride. 

Two records of the best known air from this popular 

German opera are offered — in German and Elnglish. | 

Es hat nicht sollen sein (It 'Was Not I 
So to Be) 

By Otto Gorki. Baritone (InGeiman) TM12 12-incb. »1.50 

(By Frank Croxton. B>s* (In EJigllih)),,... ,a.;„,i, • « 

\ Wllh Ihe Wine on Ihe Rhine By Reed Afllltr (/n£nsW*' I a men. 




^ (French) 

LES VEPRES SICILLIENNES 

{.Leh Vth-ptr See-9ee4»-cn') 
(Italian) (Entfltsh) 

I VESPRI SICILIANI SICILIAN VESPERS 

{Ee Ve»*-prte See-chee-ke-ah' -nee) 

OPERA IN FIVE ACTS 

Text by Scribe and Duveyrier. Music by Verdi. First given at the Acad^mie, Paris, 
June 13. 1855. An Italian version was given at La Scala, Milan, in 1856. The first London 
production was at Druj^^Lane, 1859, with Tietiens, Mongini and Vialetti. The work was 
presented in New York in 1859, with Colson, Brignoli and Ferri. 



Characters 

GUY DE MONTFORD Viceroy 

ARRIGO A Sicilian officer 

DUCHESSE H£l£NE A prisoner 

JOHN OF PROQDA A Sicilian conspirator 



Verdi's Sicilian Vespers followed the composer's Traoiaia and was written for the Paris 
Op6ra, being produced there June 13, 1855. It is a brilliant work, but has never been 
popular, and much wonder has often been expressed that Verdi, in writing for the French 
stage, should have selected so inappropriate a subject as the Sicilian massacre of the 
French ! 

But the young composer could hardly help himself, as the libretto was offered to him 
by the great Scribe, then in the height of his glory. The French, however, kindly over- 
looked the plot and welcomed the composer's fine music most generously. 

The scene is laid in Sicily at the time of the French invasion, and tells of the slaughter 
of the French at vespers, Easter Monday, 1282. This massacre was caused by the 
Viceroy's brutal attitude toward the Sicilians. 

Arrigo is in love with Hilina, and the plot turns on his attempt to rescue her. He is 
afterward discovered to be the son of the Viceroy. 

The Victor offers a fine record of the splendid O tu Palermo, by Mr. Witherspoon. 

O tu Palermo (Oh« Thou Palermo!) 

By Herbert Witherspoon, Bass (/n Italian) 74207 12-inch, $1.50 

Fatherland, beloved country! 
At last I now behold thee! 



Oh, thou Palermo, 

Land of my devotion. 

Thy loving smile shall ever be mine I 

Summon tny pride from shameful emotion. 

In ancient glory once more to shine! 

I have sought near and far for an ally, 

I have calTd on the town and the tow'r; 

Bu^-ncver heeding the voice of my pleading, 

CJoie the reply: 

CTn, Sicilians, why fails your own pow'r? 

Let us rally for vict'ry. 

Let us rally for our fame! 

From thv Schirmcr Kdltton. 

Copy't O. Sciilrnier, IM4. 

459 




(Garmu) <Fceaeh) 

DIE WALKURE LA VALKYRIE 

<Biifii(b) 

THE VALKYRIE 



MUSIC-DRAMA IN THREE ACTS 

Text and muuc by Richard Wagnei. Fint presented in Munich in IS70. Fiisl New 
York producrion at the Academy of Mucic, April 2. 1B77. 

Character! 

SlEGMUND (S«f'.in»m/; Tenor 

HUNDING (Homrf'-lng) Bass 

WOTAN (Ci^'-taAB) Baritone 

SlECUNDE (S-,Jto'-J'A) Soprano 

BRUNNHILDE (BnwNAHj' J'A) Soprano 

FRICKA (Frtk'-di) Soprano 

VALKYRIES-Gerhilda. Ortlinda. Valtrauti^ Svetleiti^ HelmTiga. Siegiutia. 
GiimKerda, RohvIm. 

tVaOiare is the aecond in the leriea of rnuuc-diama* compoaing the Nitbelang Ring, and 
to most opeia'goers perhaps the most melodious and pleasing. The story is beauti- 
ful and compelling, the ailuations by turn thrilling and pathetic, while the glorious music 
written by the master to accampany the adventures of his mytluwl personages is easily un- 
derstood and appreciated by the average hstener. ^ 

A perusal of the preceding description of the story of the Nletelang in RhItttgolJ 
(page 360) will help the reader to understand more fully the Victor synopsis of tt^alkan. 

Wolan has been warned by Erda, the Earth Goddtu. that if Albertch regains the Ring the 
gods must perish. Brooding over this impending fate, fVolan descends to earth and weds the 



VICTOR BOOK OF THE OPERA— WAGNER'S DIE WALKUR 



oodden: thU union leiultinK in nine splendid dauskten, the Wallet, who are to aid in 
the ulvBlion of the godi. Riding forth each day among the tumult and the strife which 
prevail on the eaith as ■ teiult of the Curee of the Rin& they caiiy to Wat/ialla, on their 
Bying horsea, ihe bravest of the warriors who fall in battle. These revived heroes keep 
themselves ready (o defend Walhella from the Nitittunga, But in order to legain the Rinft 
a brave hero is neceaaary, who shall be free from the universal curse and who con take it 
from Fafner, now changed into a dragon the better to guard the treasure. With this in mind 
IVolan visits the earth again and weds a mortal who bears him twins, Sitgmund and Slcgllitdt. 

While these children ate quite 
young, the brutal HunJing 
finds their cottage, bums it, 
kilU the mother and carries off 
Slegllnde, whom he afterward 
forces to become his bride: 

The father and son return 
and swear vengeance on 
Handing. Wolaa (known as 
Ko/m on earth) returns to 
Walhalla, leaving the young 
Slegmund to fight alone and 
become a self. reliant hero. 
This is the situation when the 

ACT I 
SCENE l—hlerlorofHandlng'$ 
Hul In Iht Foral—a Large 
Tret rl$a through tht Roof 
The prelude represents a 
fearful storm in the forest in 
the midst of which Sitgmand 
' gives him refreshment and feels drawn 
conversing, Hand- 




rashes in exhausted, and falls by the fire. Slegllndi 
to him by some strange attraction. While they are 
Ing enters, and after questioning the stranger, recognizes in him his 
mortal enemy. He says, "Thou shall have shelter from the storm 
to-ni^t. but to-morrow thou diesti" and goes to his room, bidding 
Sitgllndt prepare his evening drink. She does so but puts a drug 
in it to make him sleep soundly, and returns to Slegmand. unable to 
control her interest in the mysterious youth who has so strangely 



affected her 



: lovely Llibtttled, the gem of this beautiful 



Siegmund's Liebeslied (Sieftnund's Love Song) 
By Riccardo Martin. Tenor 

(/n German) 68276 12<iach. taJW 
By George Himlin, Tenor 

(/n German) 74I1I 12-inch. 1.90 
The hut. which has been in semi- darkness, is suddenly Illumined 
by the blowing open of the great door at the back, and without can 
be seen the beauty of the spring night after the storm. Tlie full 
moon shines in upon them, so that they see each other clearly 
for the first time. SlegmuTid, in ecstasy, rhapsodizes Spring and 





^^^ 



BrUnnbiiae Bearing ■ Wounded 'Wurior to Walhilla 



VICTOR BOOK OF THE OPERA— WAGNER'S DIE WALKURE 



He takes her hand, seats hi 



world; 




nt of hit hartiv sIHvini: 

ii. ElulibDrn aniJfSae. once'hrld us from 



Thu^ Love the spnng h»ih allured. 
Within Dur boHnnii Love lay asleep 
That now laujihs - - ---- •^-■- 

The bride and 
hioihtr: 

Destroyed tht «_ 

joyous mcM now Ihe voulhful paii; 

Although the true charm of this poetry ci 
with the German tongue, this excellent tranal 
will add to the enjoyment of the record. 

SlegllnJe then tells Sitgmand the story of (he Sword — how at her wedding a stranger had 
suddenly appeared and thniat into the trunk of the tree a magic sword which should belong 
only to him who could take it out. 
■ ■" :r had secretly told SleglinJe 

i but Slegmand would have 

Sltgmund tiaca eagerly, and going lo 
the tree withdraws the sword with a 
mighty effort. The reunited brother and 
lister embrace each other and agree to 
Ry from the power of HunJlng. The 
curtain falls as they pass out into the 

The love scenes between Slegllndt 
ind Slegmund should be considered in 
Jieir allegorical and poetical sense, and 
not judged by modem ethical standards. 
Wagner intended this episode to represent 
the union of Love and Spring. 
ACT II 

SCENE l~A Wild and Rock, Poa 

(f of an and hu favorite Valkyrit 
daughter, BrBnnhitde. are discoveied ii 




full I 



He 



ella her 



I the 



VICTOR BOOK OF THE OPERA— WAGNER'S DIE WALKURE 



lO-inch. $2M> 



Ho. yo, to, ho I (Brunnhilde's Battle Cry) 

By Johanna Gadiki, Soprano {In German) 87002 

Cadaki ia always a atatueaquely beautiful BrannhUt, and her voice glorilieB thia tnuaic, 
in which man;' personn, inaenaible to (he poetic depth and power of the atory, hear only 
noiay declamation. In thia Brtt icene etpecialh', ahe bring! into beautiful relief the joyful 
nature of the VaUa/riE, and her crie* are full of eager, happy vitality. Some idea oi 
the difficult nature of BBniaiioa -""^ ■'"m. 

thU fanioua BatlU^ Cry ( jUm g |,-7 Zij|z ^,-Sy^ig.j^ i - j| -^; ^; ^ 



may be had fro 







Mme. Cadiki, however, auTmounla theae difCcultiea with 
eaae. and the aria ia a really wonderful apecimen of both 
aingins and recording. ^ 

'lo-yo-Jo-ho! Ho-yo-to-m; Hci-»h»! 

nut listen, falhcr! are for thytelf; 

For ■ alorm o'er thee will ttrnki 

Fricka, thy basy wife, »ppio»ctieth in her 



For now I must leave Ihee to fate!' 
BrilnnlillJc it right— tfofon ia in fornacoldbg, •■ FHd[a 
now appears in an extremely bad humor. Handing haa ap- 
pealed to her, the guardian of marriage, for help, and she 
inailt* that Slegmund be punished. Wotan proteats that thia 
true love romance should not be interfered with, but the 
wrathful wife reminds him that the whole difBculty is but 
the result of bis own infidelity, and he ia finally forced to 
■wear that SJc^niunJ ahall be punished. 

_. _ Fricka then triumphantly calls to Brannhllde that Wolan 

has further instructioni for her. BrOnnhlUe finds her father 
in deep dejection, and when she queations him he conlidei to her his effotta to find a hero 
who ■hall banish the curse, but says his quest has been in vain. He bids her see that vic- 
tory goes to Handing. She protests, but he sternly commands obedience and leaves her. 

Slegmand BiiA Sltgllndt novi appear, fleeing from the wrath of Handing. Slegtlnde'i ttrcnzth 
has failed her, and she falls down exhausted. BrltnnMde comes to the lovers and tells 
Siegmand he must die. He scams her prophecy and says his aword will not fail him. 
ffuniAng'i voice is now heard, and in a sudden wave of sympathy firOnnA'Ue resolves to 
defend the young lovers. 

Slegmand rushes to meet Hundlng, i 
and amid flashes of lightning the warriors 
can be seen in deadly combat, while 
Brlinnhlldt U visible flying above Sieg. 



thr « 


tuation then 




nd cIuBM 


Slegm 


nd to fall by h 




but a 








BrOnnhilJt retrea 






fflthrr 


s wrath, and 




otect Sleg- 


/We. 


She lifts the 


helpless 




her horse and they disappear. 






VICTOR BOOK OF THE OPERA— WAGNER'S DIE WALKURE 



ACT III 

SCENE I— Tht Summll of a Rock/ Mount ofn 
The act opeiu with the wonderful RlJc of 
the yalkl/rla, one of the most stiiking o( all the 
master'* componitionfl. This is ^aphically 
pictuied in the aplendid Fantasia by Piyoc'a 
Band, and in the La Seals record. 




Cavalcata (Ride of the Valky- 
ries) 

By La Scak Orchestra 

(OnUt-AoJ) 62693 lO-inch. *0.75 

Fantasie 

(Incltiding Ride of the Valkyries) 
By Arthur Pryor's Band 

31333 12-iiich. *IM> 

The Fantasie contains some of the finest 

portions of this second opera of the Niebeluii' 

gen Ring- At first we hear the motive of Tht 



gSBBHSi 






by full band, followed by the tumuhuous 
Ridt of Iht Valkyiia. one of the mort ttemen. 

I shouts of the Boddesaes as they ride their 
vinged aleeda through the air to the Rock, 
iiiE UEATK OF siECHUHD the Warlike cries of BrOnnMlJc and the neigh- 

ing of the war horses are splendidly portrayed. 
A skillful modulation brings us to the last act. and a part of the great scene between 
Wotan and BrOnnhitJe a given, beginning with 
the wonderful Sltgfried, Guardian of iht Sinord I 



g^saosH 



on the trombone, and which Is repeated magnili. 
Lently by the basses in another key. 

The closing line of WotanV Farewell. So 
kusti cr dlt Goltheil Don dir {"with a kiss 1 divest 
thee of godhead"), is heard on the comet, fol. 
lowed by the Fire Music, an exquisite blending 
of the two die mclioe with BrOnnhlUe'i Sleep. 

The Walks/rla see Brilnnhilde (lying toward 
them, evidently in great distress. She alights 
and asks her sisters to shield her from the wrath 
of tVotan, who is riding in pursuit; but they 
dare not help her. 



lield m 



] in hardest need! 



fllM.' but 



The 

Why flee: 



1 am fnr thr first time ni:;iiicd in flight: 

Ilosl-fatlirr hums me Miiii: 

She then bids ^egUnde flee alone, t 
that she is destined to bear a son whc 
the hero Sltgfried. 



filing hei 
■hall b( 





WoMo'i Farewell 



VICTOR BOOK OFTHE OPERA— WAGNER'S DIE WALKURE 



Fort denn eile (Fly Then Swiftly) 

By M»r0irete MstzcDauer, Contralto 

(.In German) 87102 lO-inch. tl.OO 

DliHNHILDE; 

Kly then swiftly, and sprcd lo Ihr cisi; 




Th'i's%nly"'h«d\n/h'o1d"'il'f'V«" ''"'" *""**■ 
Thr highest hett. of worltli hiilrsi iliou, 

In Mhellrrinr shrint! 

(iV,i frodfces tlir fieccs 0/ 5iceiirii«J'j lu-orJ 
frcm H«dtr her breatlplau afid hands Ihem 

for hiin krlplhtrsc thieds of shallcrrd sword. 

blade: 
From hi« father's dealh-field by fortune I 

Anon renewed this sword !,liaM he swing; 
And now hit name I declare— Si egfiied, of 

O marvelous sayingsl maidtn divine! 
What comfort o>r my mind thon hast cast! 
For his sake 1 live and save this belov'd one: 

FaK 'tJee "el"? ^'siei^mde'^tortow thy 

(5/uf Aojiepi, oiraj.. The roctv feak i, tit- 
fclofed In U«(k Ihutidcr-cloudi; a fiarfnl 

Ikt Jitalt of thundtr U'olan'$ ' voirVu 



Remain 


hence 


orlh 


ut merely' thyself 


Rkvhnmil 
Thou di 


o'wnes 


"Zi 


Th'ne' aiin I divi 



He then telb<heT that she must be put in a deep aleep, 
and shall be wakened by the liiil man who paasea. She 
pleads with him in a beautiful appeal. 

Briinnhilde's Bit^'f (BriinnhUde's Appeal 
to W^otan) 




VICTOR BOOK OF THE OPERA— WAGNER'S DIE WALKURE 




Wotan, deeply moveil, (ofteiu hia stem decree, i 

by a great hero who can brave the flames with which she is to be surrounded. He then 
bids her (arewell in the splendid AbKhteJ. 

^R'otan's Abschied (I) (^fotan's Farewell. Part I) 

By CUreocc Whitehill. Biritone (/n Gcnnan) 64278 lO-inch. tLOO 



',S! 



Thy bed shall be Itl wllh lorches more bHIIi. 
Than ever foi bridal have burned! 
Fiery iilcams ihall lirdle (he fell. 
■W\\i, terHble H^archings taring the timid. 



Thou laughing delight of my eyes, 

BrOnnhiUe slnki, wnpl and tranaligured. on Wotan's biessti he holds her in a long eni- 
brace. She throws her head back aigain and ga^ai with aolemn emotion into her father's 
eyes. 

Wotan's Abschied (II) (Wotan's Farewell, Part ID 

By Clarence 'Whitehill. Baritone iln Qaman) 7430S t2-inch. %\A0 

Wotan: Or when . my wishes fwarl wordly pleasure 



Or when , with lispfng, of heroes leal 

Those effulgent. bIotious eyes. 
Whose fla^h my gloom oft dij^petled. 
When hopeless cravings my heart diiwoDi 


thy 
aged. 


On happier m*i 

nHS'S" 

And lakVib'Thy 


He impiints a long kiss on her eyes; 


she dnks b»:k in hi. 



IS with closed eyes, her 



VICTOR BOOK OF THE OPERA— WAGNER'S DIE WALKURE 



Kwers gentljr depaiting. He lemlerly helps her to lie upon a low mouy lounge, cloaet her 
Imet and completely coven her with the great steel shield of the yaHa/rtt. He ilowly 
moves Bway. (hen directs the point of hi* spear toward a huge stone. 
Cod of Flit. 



Loki 1 Loki : Apiwai ! 
M from the stone, which swells t< 
ind Wotan. leaping wildly. 



n ever brightening glow of 



Mafic Fire Spell (Feuerzauber) (Tr«a«cription by Brassin) 

By Alfred Griinfeld. Pianist 98006 12-ulch, tl.OO 

The leavc.taking and the breaking out of the flame* are 
musically pictured in one of those marvelous bits of writing 
I which only Wagner could produce, and this beautiful tranacTip- 
n i* artistically played here by Herr GrUnfeld. The record be. 
.s with the passage just preceding Woian i summons to Logt. 





begins and continues with all its varied changes and modulations 
to the close of the opera. 

Woian directs, with his spear, the liery flood to encircle the 

He casts a last look on BrOnnhllde and disappears through 
the fire. 

{Tht curtain fells.) 





WERTHER 

LYRIC DRAMA IN FOUR ACTS AND FIVE TABLEAUX 

Libretto by Edouard Blau, Paul Milliet and Ceorge Hartman. founded upon Coethe'a 
melancholy and romantic ■ton' of hia own life. The Somau of Wtrther. Muaic by Muaenet. 
First produced at the Imperial Opera House. Vienna, Febmary 16. 1892. with Van Dyck 
and Renard. Firat Paria production at the Op*ni Comique, January 16, 1693, with Mme. 
Delna. Firat American producHon at the Metropolitan Opera Houae. New York, April 2a 
1694. with Eamea, Amoldaon and Jean de Retzlce in the cast. Revived at the New Tbeatre 
by the Metropolitan Opera Company. 1910, with Fartar, Cement, Cluck and Dinh-Gilly: 
and at the Boaton Opera in 1913. 

Chiractera 

WEBTHEB Tenor 

ALBERT, the bailiff Baritone 

SCHMlDT.l . . ( . J (Baaa 

JOHANN. r* *"'"''• \Tenor 

CHARLOTTE, his daughter Soprano 

SORHIE, her siater. Mezzo-Soprano 

BUHLMANN Baritone 

KATCHEN ^. . . .Mezio-Soprano 

Six younger children of the bailiff. '^ 



Time and 'Place : In Iht lAelnitj/ of Fnmkfort, Cermang, 1 772. 



VICTOR BOOK OF THE OPERA— MASSENET'S WERTHER 




of the be«« •eleclioi 



As the curtain riK*, Chailolle, surrounded bifher 
brothers and sisters, is cngBged in preparing the 
noonday meal. FferfAer, a serious- minded and 
ronumdc young man, conies to the house with his 
friend AUtat, who is betrothed to Charlolle. The 
charming domestic picture appeals to tVtrlhei greatly, 
and he promptly falls in love with the young girl. 
When Wathcr finds an opportunity to tell Charlotte of 
his love, sha confesses that she returns his affection, 
but feels it her duty to marry Alhetl to fulfill a 

Cromise made to her d)iing mother, and begs him to 
Ave the village- 
After Charlotte and Albert ore married Werlher 
returns and tells CharloUt that he still loves her. She 
admits that he still possesses her affections, but en- 
treats him to spare hel and go away forever. IVertker 
then writes a message to Alttrl, telling him he has 
resolved to go on a long journey, and asking him for 
hia brace oT pistols. Charlotte, greatly alarmed at 
this request, follows Werthrr, but is too late, as she 
Rnds him mortally wounded, and he dies in her 
arms. Overcome with grief, she faints on the body 
of her lover, while in strange contrast to this affect- 
ing scene the pealing of hells and the joyous voices 
of litde children singing Christmas carols ate heard 
in the distance, 
the opera, by Clement and Battiatini, are offered here. 



Lied d'Ossian (Ossian's Song) 

By Edmoad Clement, Tenor 



(InFrtTKh) 64234 lO-inch. (LOO 



Ah 1 non mi ritlestar I (Do Not Waken Me !) 

By Mattia Battistial. Baritone (/n Ao/Zan) 8S354 12-iitch, 13,00 



H^^ — tfflHI ' ]m ff^fll A 


1 ■■f'^^B 


tf^^L^^mm 


1**- — W mt^ -^ 




GUILLAUME TELL 

(;«^«.™ Tdt, 
(Ilaitu} 

GUGLIELMO TELL 
WILLIAM TELL 



OPERA IN FOUR ACTS 



Worda hy Elienne Jouy. Hippolyte Bit 
drama of the aame name. Music by Gioach 
Paris, Augusi 3. 1829. First London produt 
kalian at Her Majoty's. 1639. 



triA taken (rom SchilWa 
presented at the AcaJimlt, 
t Drury Lane, 1830. and in 



VICTOR BOOK OF THE OPERA— ROSSINI'S WILLIAM TELL 



Chaficteri 

William Telu | | Bau 

Arnold, suitaraf Matilda, iSwiuPatriola ^Tenor 

Walter FOrst. | | Bsm 

MELCTHAU Arnold'a father Ban 

GESSLER, Governor of Schwin and Uri Ban 

Rudolph, Captain of Getder'* bodyguard Tenor 

RuODi. a fiaherman Tenor 

LEUTHOLD. a shepherd Bbm 

Matilda, daughter of Geaaler Soprano 

HeDWIGA. Teir« wife Soprano 

Jemmy. Teir< aon Soprano 

Chorus of Peaaants of the Three Canton*; Knigbu. Pages and Ladiei 
of the train of Matilda; Hunters, Soldiera and Guards of Geaaler. 



le mi PaivJ: SuUttrianJ; tkrltailh c. 



■ilurff. 



GC/1L.L4UHE 

TELL, 



THE PLOT 

The story of TeU. the distinguiahed patriot, 
and chief inatrumeat of tbe revolution which 
delivered the Swiss cantons from the German 
yoke in 1207. has been taken by Rossini for the 
theme oE one of his most admired operas, [he 
dramatic interest being heightened by the intro- 
duction of love scenes and other episodes. 

In the libretto by Jouy and Marast Gttsltr is 
endowed with a beautiful and amiable daughter, 
Matilda, who has been saved from a watery grave 
by Arnold, son of Mtlelhal, the pstriareh of the 
country, and a determined opponent of the tyran- 
nies of Gailer. As a matter of course, mutual 
attachment enaues, and leads to the troubles which 
might have been expected from so ill.sotted a 



At the opening of the opera we leam that an agent of Gtuler's haa attem 
on the daughter of a herdsman, and has been sUin by her father, Leuthold. 
the country after this act of vengeance, it becomes necessaiv to cross Lakt 
the weather is so adverse that none of the boatmen will row the old 
tempestuous waters. William Tdt finally undertakea the rescue, and by so 
mortal hatred of Geuler. 

Aa time proeresses, the people become more and more 
disaffected ; and the father of Arnold, suspected of inciting 
them to acts of insubordination, is seized by Getiler and 
executed. Tbe son's feelings are thus subjected to a 
severe conflict between hu love for Matilda. CeWer'i 
daughter, his duty to his country, and his desire to avenge 
his father's death. He, however, renounces his love, 
and joins the band of patriots now marshaled under 
millam Ttll. Events are brought to a dimai by Gasla 
causing a cap to be elevated on a pole, and requiring 
all passers-by to bow to it. Tell firmly refuses to do ao. 
and ia thereupon aubjected to tbe ordeal of the apple, being 
required, under pain of death, to shoot at an apple placed 
on the head oE his son. Although the distance was consid. 
crable, he was able to strike the apple off without Injuring 
the child. The tyrant, perceiving another arrow concealed 
under Ttil'i cloak, asks tSm for what purpose it was in. 
tended. To which he ooldly replies, "To have shot you 
to tbe heart, if 1 fiad killed my son I " The enraged governor 
orders him to be hanged ; but the Swiss, animated by 

473 






to Jy 




VICTOR BOOK OF THE OPERA— ROSSINI'S WILLIAM TELL 



OVERTURE 

This grtxt overture, which Berlioz has called a aymphony in four paru, is a fitdug 
prelude to tuch a noble and serious work, unci is full of beautiful contraata. 

The first movement ii reposeful, eipreasing the solitude of Nature, and is followed by 
the contrasting Storm, a majestic and awe-inspiring tone picture. To the Slom succeeds a 
beautiful pastoral with a delicious melody for the Ejiglish horr^ and as Berlioz says^ "with 
the gamboling of the (lute above this calm chant producing a charming freahneaa and 
gayety.*' As the last notea of the melody die away, the ITumpeta enter with a brilliant fan- 
fare on the splendid finale, a fitting climax to a great work. 



Part I— At Dawn 
Part II— The Storm 
Part III-The Calm 
Part IV— Finale 



By Pryor'a Baii<lw?I218 12-iiich. *1J>0 

By Pryor'a Band^'l2l» 12-inch. 1.0O 

By Pryoi'i Band 31220 I2-ioc(i. l.OO 

By Pryor'a Band 31221 I2-utcli. IXK) 

Now.— This ttticm i> alKi IhihI in Dnuble-Facnl (arm.— Sk Ptc *JS. 

ACT I 
SCENE— .4 tillage In the Canton of Uit 
The curtain rises on a peaceful scene, showing a charming village with the house of 
IVllllam Tell in the foreground. Tell and his family are engaged in rural occupations, and 
the fishermen, while they prepare to put out the boats, sing a lovely larcartJU. 

Accours dans ma nacelle (Come. Love, in My Boat) 

M. Retfis. Tenor iDoiAU-fiKti—Stt p. 478) (In Fitneh) *49026 10-inch, (I.OO