QforttcU UninetHitjj Slibrarg 
 
 SOUGHT WITH THE INCOME OF THE 
 
 SAGE ENDOWMENT FUND 
 
 THE GIFT OF 
 
 HENRY W. SAGE 
 
 1891 
 
 MUSIC 
 
Cornell University Library 
 ML 410.G71N87 
 
 Gounod's operas in London 
 
 3 1924 022 482 412 
 
The original of tliis book is in 
 tine Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924022482412 
 
GOUNOD'S 
 OPERAS 
 
 IN 
 
 LONDON 
 
 RICHARD NORTHCOTT 
 
 PRIXTED AND PUBLISHED BY 
 
 THE PRESS PRINTERS, LTD. 
 
 LONDON 
 I918 
 
CHARLES GOUNOD. 
 
NOTES ON 
 
 GOUNOD'S LIFE. 
 
 IF the average Englishman were asked to-day to 
 mention some of the worl<s of Gounod the reply would 
 be that he was the composer of " Faust." This would 
 be the extent of his knowledge of the French musician's 
 achievements! Gounod has become a one-opera celebrity! 
 His " Romeo " is heard occasionally, but who cares for his 
 oratorios or symphonies ?* A few songs maintain popularity, 
 notably " IVlaid of Athens," " Nazareth," " There is a green 
 hill," and his posthumous compliment to Bach, a " Medi- 
 tation," first heard in 1853; and of his piano pieces, the 
 " Funeral March of a Marionette " (composed in London in 
 1873, and first heard at the Crystal Palace, conducted by 
 the composer, on April 25th, 1874) is probably the only one 
 now thumbed out in schools. As for his church music, 
 this practically is confined to French cathedrals. Yes, 
 Gounod is " Faust " to-day in England, and no composer 
 who has been inspired by the Goethe drama — and there have 
 been many — is likely to win a similar distinction. Out of 
 
 * Both symphonies were heard first in this country at the Crystal 
 Palace, the Xo. i, in D, on November 7th, 1857, and the No. 2, in 
 E flat, on October 29th, 1864. The former was conducted by Gounod 
 at a concert of the Philharmonic Society on March 8th, 1871, where 
 Sterndale Bennett brought forward the second on May 28th, i865. 
 
this opera he made no fortune ; enterprising impresarios 
 and sharp-witted publishers secured the immediate cash 
 and left the reputation! For several other works, now 
 " lost to sight to memory dear," he obtained big money, 
 but the larger the financial remuneration the smaller 
 the artistic result ! 
 
 The son of a portrait painter, Charles Gounod was 
 born in the Rue de I'Eperon, Paris, on June 17th, 1818. 
 When he was 18 he entered the Conservatoire and won, in 
 1839, the Prix de Rome. For some time afterwards he 
 thought of joining the Church, but happily for the musical 
 art he took no priestly vows. Four numbers from his 
 " Messe Solennelle " in G brought his name to the notice of 
 Londoners. These were introduced by John Hullah at St. 
 Martin's Hall, January 15th, 1851 , when Charles Lockey was 
 the soloist in the " Sanctus," and Kearns sang the soprano 
 music in the " Benedictus." Gounod was present. Three 
 months later, on April 16th, his first opera, " Sapho," was 
 performed in Paris, but only ran for six performances.* 
 His second opera, " La Nonne Sanglante," the libretto of 
 which was taken by Scribe and Germain Delavigne from 
 " Monk " Lewis's novel, was staged on October 18th, 1854, 
 
 * This work was written for Pauline Viardot, to whom, perhaps 
 wc owe " Faust," for she encouraged him to confine himself to music. 
 Gounod, at that time, was very Iriendly with the Garcia family, and 
 frequently visited them at Courtavenel, in Brie. On one occasion he 
 took part there in a performance of Beaumarchais's " Mariage de 
 Figaro," when Viardot was the Suzanne, her daughter I^ouise the 
 Cherubino, Ivan Turgeniev the Almaviva, Desiree-Artot the Countess, 
 Joaquina Garcia the Don Basilio, and he the Figaro. Gounod was a 
 very distinct speaker. In her reminiscences Mathilde Marchesi wrote : 
 " Gounod sang delightfully, and one could not help overlooking the 
 l^oorness of the voice while listening to his perfect diction." Chorley, 
 who did so much for Gounod in this country, met the composer through 
 the introduction of Pauline Viardot, and in his journal of 1850 there is 
 the following comment : — " It was a great pleasure to me in Paris to 
 add to my list of sensations Gounod, of whom the world will one day hear 
 as the composer, or else H. F. C. is much mistaken." 
 
and was another failure, eleven representations only being 
 given. On January 15th, 1858, the Thfeatre Lyrique 
 produced " Le M^decin Malgr^ Lui," which, dedicated to 
 the Princess Mathilde, was more fortunate. The following 
 year, March 19th, 1859, " Faust " appeared at the same 
 theatre. " Philemon et Baucis " was first heard in Paris 
 on February 18th, 1860, and after this came " La Reine de 
 Saba," dedicated to Count Walewski-Colonna (February 
 29th, 1862), " Mireille," dedicated to King George V of 
 Hanover (March 19th, 1864), " La Colombe," dedicated to 
 Edouard Benazet, the director of the Casino at Baden- 
 Baden, where it was first given in 1860 (June 7th, 1866), 
 " Romeo et Juliette," dedicated to Charles XV of Norway 
 and Sweden (April 27th, 1867), " Cinq Mars " (April 5th, 
 1877), " Polyeucte," which he called " a work of apostolic 
 art " (October 7th, 1878), and " Le Tribut de Zamora " 
 (April 1st, 1881) — the last three being failures. 
 
 Of his literary essays the most important is that on 
 Mozart's " Don Giovanni," written in October, 1882. In 
 the preface to this he wrote : " ' Don Giovanni,' that 
 unequalled and immortal masterpiece, that apogee of the 
 lyrical drama, has attained a hundred years of existence 
 and of fame ; it is popular, universally accepted, and 
 consecrated for ever. Is it understood ? This wondrous 
 example of truth, of expression, beauty of form, appro- 
 priateness of characterisation, deep insight into the drama, 
 purity of style, richness and restraint in the instrumentation, 
 charm and tenderness in the love passages, loftiness and 
 power in pathos — in one word this finished model of 
 dramatic music — is it admired ? Is it loved as it should 
 be ? I may be permitted to doubt it. The score of 
 ' Don Giovanni ' has exercised the influence of a revelation 
 
upon the whole of my life ; it has been and remains for me a 
 kind of incarnation of dramatic and musical infallibility. 
 I regard it as a worli without blemish, of uninterrupted 
 perfection, and this commentary is but the humble testi- 
 mony of my veneration and gratitude for the genius to 
 whom I owe the purest and most permanent joys of my 
 life as a musician." Gounod started in 1877 his " IVlemoirs," 
 but the volume published in 1896 only deals with events 
 up to the production of " Faust." The preface (translated 
 by the Hon. W. H. Hutchinson) runs as follows : — 
 
 The following pages contain the story of the most important 
 events of my artistic life, of the mark left by them on my personal 
 existence, of their influence on my career, and of the thoughts 
 
 they have suggested to my mind My story bears witness 
 
 to my love and veneration for the being who bestows more love 
 than any other earthly creature — mj' mother ! Maternity is the 
 most perfect reflection of the great Providence ; the purest, warmest 
 ray He casts on earthly life ; its inexhaustible solicitude is the 
 direct effluence of God's eternal care for his own creatures. If I 
 have worked any good, by word or deed, during my life, I 
 owe it to my mother, and to her I give the praise. She nursed 
 me, she brought me up, she formed me, not in her own image, 
 alas ! — that would have been too fair. But the fault of what is 
 lacking lies with me and not with her. She sleeps beneath a stone 
 as simple as her blameless life had been. May this tribute from 
 the son she loved so tenderly form a more imperishable crown 
 than the wreaths of fading immortelles he laid upon her grave, 
 and clothe her memory with a halo of reverence and respect he 
 fain would have endure long after he himself is dead and gone. 
 
 The " musician of love," as he once styled himself, 
 came to London for the productions of " Faust '' in 1863, 
 and lived at 62, Avenue Road, Regent's Park, a house 
 occupied by his agent, Ernest Gambart. One Sunday he 
 went to St. Paul's Cathedral, and recorded his opinion that 
 there " one can hear the finest musical service in Christen- 
 dom ! " He started his third visit to England in Sep- 
 tember, 1870, and first of all resided in the house of IVlrs. 
 Luisa Brown, 8, Morden Road, Blackheath. Later he 
 moved to Park Place, Regent's Park (where Arthur Sullivan 
 
first met him), and some months afterwards he became the 
 paying guest of Captain Harry and Mrs. Oeorgina Weldon, 
 atTavistoctc House, in Tavistock Square. During the stay 
 at Blacl^heath he composed " There is a green hill far away,'' 
 which Charles Santley first sang, the composer conducting, 
 to the members of the Philharmonic Society, on March 8th, 
 1871. A few weeks later, June 15th, his " Oh, that we two 
 were maying " was sung by Mrs. Weldon, he accompanying, 
 at a private concert in Beigrave Square. (This soprano 
 made her only appearance at a Philarmonic Society's concert 
 on April 29th, 1872, when she interpreted " The Worker," 
 to his accompaniment.) " Nazareth," originally composed 
 in May, 1856, when it was called " Jesus de Nazareth," and 
 dedicated " A mon ami Bataille," also became popular 
 about this time, thanks to the English version by Choiley 
 of A. Porte's poem. Gounod established a choral society — 
 now the Royal Choral Society — for the opening of the Inter- 
 national Exhibition of 1871, the concert on May 1st in- 
 cluding his " lamentation," called " Gallia." The re- 
 hearsals were held at Exeter Hall, and the first regular 
 concert, on May 8th, 1872, consisted of miscellaneous pieces, 
 among them his Te Deum referred to below, but no com- 
 position by an Englishman! John Stainer was at the 
 organ, and the choir was made up of 346 sopranos, 194 altos, 
 236 tenors, and 358 basses, a fine force. The short season 
 resulted in a loss of £3,140, and when his application for a 
 benefit concert at the hall was refused he resigned his post. 
 This was not the first snub he had had that year.* Early 
 
 * In his " Pages from an Unwritten Diary," S.ir Charles Stanford 
 has the following references to the French melodist. at the Birmingham 
 festival of 1882 : — Costa was not at all so kindly to Gounod. . . . 
 He disliked the Frenchman's pose and resented the suggestion of " The 
 Assumption of Gounod " which his attitude pictured. . . . Costa 
 loved a big noise, but he had a sense of proportion. In spite of his 
 
in January he sent the following letter to the organist of St. 
 Paul's Cathedral : — " Dear Mr. Ooss, — I have composed in 
 commemoration of, and as a thanksgiving for, the recovery 
 of H.R.H. the Prince of Wales a Te Deum on the text of 
 your English Church service for chorus and organ. I should 
 be very happy if it could be performed at St. Paul's on the 
 occasion of Her Majesty's going to St. Paul's to render 
 thanks, as I see it is Her intention to do so in February next, 
 and I would be very grateful to you if you could manage 
 this for me." Gounod subscribed himself " Sincerely 
 yours." Here is the dignified reply of the Cathedral 
 organist : — 
 
 My dear Sir, — As soon as I received your letter about the 
 Te Deum I tools it to our Dean, but I have not since heard from 
 him. In all candour I must confess to you that I do not wish it 
 to be accepted for the occasion of our National Thanksgiving in 
 St. Paul's for the very natural reason that there are yet English- 
 men in existence who are capable of, and would be expected to 
 produce, the music required for the ceremony. I am quite sure 
 that their hearts would be in the music. You will, I trust, forgive 
 my hasty remarks, and, dear Sir, believe me, with all veneration 
 for your genius. Yours faithfully, John Goes. 
 
 Gounod left London in June, 1874. (It is unnecessary 
 to refer to the Weldon controversy.) 
 
 fortj'-eight violins and the rest to match, when he directed Mozart's 
 G minor symphony he surprised me by playing it with a small picked 
 band of forty-five. Gounod sat in front of me at this concert, and his 
 ravings over Mozart were too exaggerated and theatrical to ring true. 
 I could not help recalling the description given to me by Charles Halle 
 of his powers of blague. Halle had visited Paris to give a recital, which 
 took place at the Salle Erard in the afternoon ; and he had gone to a 
 party in the evening where he met Gounod. Gounod seized him by both 
 hands and thanked him profusely for the pleasure his recital had given 
 him, instancing one passage in a Beethoven sonata which he hummed, 
 which proved to him that " No one — no one, my dear friend, except you, 
 could have interpreted that passage in so masterly a way. Even with 
 my e3'es shut, I should have known that Halle was playing." Imine- 
 diately after up came Madame Gounod, who began by apologising for 
 her husband's absence from the concert owing to a previous engage- 
 ment. Halle used to act to perfection the slow and silent vanishing 
 away of Ch. G. after this exposfe. 
 
For each of his Birmingham oratorios, " The Re- 
 demption " and " JVlors et Vita," he received £4,000. The 
 former, dedicated to Queen Victoria, was first heard, under 
 the composer's direction, on August 30th, 1882, the soloists 
 being Albani, iVlarie Roze and Patey, with Edward Lloyd 
 and Foli as the narrators, Santley as the Saviour, and W. H. 
 Cummings and Fred King as the thieves ; the latter was 
 dedicated to Pope Leo Xlll, and Hans Richter conducted 
 its original performance on August 26th, 1885, when the 
 solo quartet consisted of Albani, Patey, Lloyd and Santley. 
 The history of the origin of " The Redemption " was thus 
 described by Gounod : " It was during the autumn of the 
 year 1867 that I first thought of composing a musical work 
 on ' The Redemption.' I wrote the words at Rome, where 
 I passed two months of the winter, 1867-8, with my friend 
 Hebert, the celebrated painter, at that time director of 
 the Academy of France. Of the music ! then composed 
 only two fragments, ' The iVlarch to Calvary ' in its entirety 
 and the opening of the first division of the third part — 
 ' The Pentecost.' Twelve years afterwards I finished this 
 work, which had so long been interrupted, with a view to its 
 being performed at the Festival in Birmingham in 1882." 
 
 Gounod died from paralysis of the brain at St. Cloud, 
 October 18th, 1893, and to mourn his loss left a widow, 
 Anna, a daughter of the composer, Pierre Zimmerman, to 
 whom he had been married forty-one years, and a son and a 
 daughter. On the tenth anniversary of his death an 
 elaborate memorial was erected in the Pare Monceau. 
 
 The centenary of his birth in 1918 could not be 
 properly celebrated either in Paris or London owing to the 
 war. There was a performance of " Faust " at the Shaftes- 
 bury on June 15th, the close of the Carl Rosa season there. 
 
and four days later the same opera was given at Drury Lane 
 by the Beecham Company. The London Symphony 
 Orchestra, the band of the Coldstream Guards, and four 
 British conductors. Sir Alexander Mackenzie, Sir Frederic 
 Cowen, Major JVlackenzie Rogan, and Landon Ronald, paid 
 tribute to his memory at a concert given in the afternoon of 
 June 16th at the Palladium, and at night a concert was pro- 
 vided in the same building by the string band of the Royal 
 Artillery, conducted by Lieutenant E. C. Stretton, both 
 programmes being made up of characteristic selections. At 
 St. Paul's Cathedral the anthem at the morning and evening 
 services was by the French composer, and commemorative 
 articles appeared in several newspapers. Here are para- 
 graphs from one in the Times : — 
 
 It is interesting to consider the reasons for this popularity. 
 That critic who hailed genius in the young composer of the " Agnus 
 Dei " wrote that the music was " not new, if new meant quaint 
 and topsy-turvy ; nor old, if old meant dry and stiff." Works 
 of genius do not commonly proclaim themselves as such on the 
 morrow of their birth to critics or anyone else ; and if this struck 
 him in that way, it may have been because Gounod belonged, 
 like Emile Augier, who wrote the book for his " Sapho," to 
 " the school of good sense," and because his harmony is not 
 carried into the falsehood of extremes, nor is he above attending 
 to the logic and punctuation of his melodies. Another critic, 
 Berlioz, says that the subject of each scene is " largement dessine 
 et habilement developpe " ; and, indeed, the popularity of 
 " Faust " largely depends on the broad humanity, the conciseness 
 and the easy flow of the scene of the moment. 
 
 A taint that runs through all Gounod's melody is " Rosalia," 
 the repetition of a phrase a note higher. We hear it everywhere 
 — in the " Credo " of the " Messe," in the " Improperia " of 
 the " Redemption," in the " Tuba mirum," in the valse, 
 " Je veux vivre " of " Romeo and Juliet," in " Nazareth," 
 and the notorious " Ave Maria." Of more than a dozen airs 
 in " Faust," only two are immune from the disease, and the 
 famous ones — Valentine'ssong, the Jewel Song, "Salut, demeure," 
 and " Qui ! c'est toi, je t'aime " — have it very badly. But, 
 after all, it should be counted to him for righteousness that what 
 he wTote was melody, since there are others to whom it has not 
 occurred to do that. They may not desire that kind of immor- 
 tality that has attended Gotmod's, but without melody they will 
 have no other immortality. 
 
Robirt Legge's critical eulogy in the Daily Telegraph 
 included tlie following : — 
 
 To many to-day, Gounod is the composer of " Faust," 
 and he is nothing more. They have forgotten his songs, for we 
 rarely hear even " Nazareth " to-day, and the " Serenade " 
 never ; while his other operas, save only " Romeo and Juliet," 
 are, anyhow temporarily, lost in the limbo of forgotten things. 
 The majority probably never knew and never cared that he is 
 one of the prime milestones in French operatic history ! And 
 what a history that is I Imagine what it must have meant to a 
 youngster, hovering between the theatre and the monastery, 
 to have been brought in youth and early middle-age into contact 
 with such folk as Ary Scheifer, Corot, Berlioz, Saint-Saens, Wieni- 
 awski, Vieuxtemps, Leonard, de Beriot, Ambroise Thomas, 
 Massenet, C&ar Franck, Lalo, Dore, our own I^eighton, Turgeniev, 
 and so on ! Then Goiuiod, as I say, was hovering. In Rome, 
 where he lived as winner of the Grand Prix, he came strongly 
 under the influence of Palestrina and all that that great man 
 stood for ; he actually composed a Mass alia Palestrina — is it 
 ever sung to-day ? . . . 
 
 While many railed at " Redemption " and " Mors et Vita " 
 in the old days, and voted the music a bore, thousands filled the 
 Albert Hall to hear at least the former for many years. This, 
 I know, is not a sound argument, but it is a true statement, at any 
 rate ; and in any case, the fact remains that Gounod's music 
 from first to last has played a great role in the world. It has 
 afforded, perhaps, a wider pleasure than that of almost any 
 other composer of his epoch ; for while Wagner was — and is — for 
 the mass, on the stage, and in a much more limited extent in the 
 domestic circle, Gounod permeated every household in which was 
 a voice, a pianoforte or violin, or an American organ ! 
 
 A clever writer in the Birmingham Post, Ernest New- 
 man, penned these thoughtful remarks : — 
 
 Gounod is, and always will be, the composer simply ot 
 " Faust." That is rather a curious situation. I can think 
 of no other composer of the nineteenth century, who, if he is 
 remembered at all by the world at large, is remembered only 
 by one work. But there is another curious feature about " Faust." 
 Though it is not a work of the first order, it never seems to grow 
 old ; it is very much to-day what it was when it was first pro- 
 duced in 1859. Verdi was a much greater man ; but tl.e Verdi 
 operas of the 'fifties and early 'sixties, especially " II Trovatore," 
 " I,a Traviata " and " Un Ballo in Maschera," though they 
 have still plenty of liie in them, are strangely, at times comically, 
 old-fashioned ; they make us wonder what queer sort of people 
 our grandfathers could have been. But " Faust," banal as it is 
 now and then, seems, after sixty years, to be the music of a man 
 quite like the average man or woman of to-day. 
 
 A survival for as long as this, with such freshness at the 
 end of it, can onlj' be the result of genius of some sort or other ; 
 
and it may well be asked how it was that a man who was capable 
 of one work of such undeniable personality achieved, during a life 
 of seventy-five years, nothing else that is worthy to stand beside 
 it. The explanation seems to be that the personality was an 
 extremely limited one, and that " Faust " — a subject that brought 
 out all that was best in it and made the minimum appeal to all 
 that was worst — had the good luck to occupy Gounod at the 
 very period when a temperament of his sort is at its best. . . . 
 
 Gounod is " I'homme moyen sensuel " turned genius for a 
 moment, at the age that is the watershed in the life of the average 
 man ; and " Faust " is the stupendous success it is because it is 
 the most faithful of mirrors of the soul of the average man and 
 average woman. 
 
 There was a good deal that was feeble and a good deal that 
 was rather rank in Gounod's nature ; and his music, in its 
 frequent feebleness and rankness, is an extraordinarily faithful 
 reflection of the man. He was amiable to the point of effusiveness, 
 a gushing sentimentalist, a flatterer, a man whom many people 
 instinctively distrusted. 
 
 Here is an extract from a tribute in the Musical 
 Times : — 
 
 The most eloquent tribute that can be paid to-day to Gounod's 
 genius is to record that notwithstanding the flood of music that 
 has poured from the world's composers since " Faust " was first 
 performed on March ig, 1859, that opera still maintains its sway. 
 The story is an immortal one, and it is told plainly ; but that only 
 partially accounts for the remarkable hold the opera has on 
 musical mankind. Other composers have turned to the "Faust" 
 legend — Towers's " Dictionary of Operas " lists over thirty 
 settings — but, besides Gounod's, only the settings of Berlioz, 
 Boito and Schumann (we include this doubtfully) have survived 
 the test of time. 
 
 His style, especially in his later compositions, was 
 distinguished by sentiment and even an ultra-sentiment that 
 cloyed. If he had been fortunate enough to possess a strong 
 power of self-criticism, he would have suppressed much that was 
 weak and not worthy of his reputation. His mannerisms were 
 of a type that were only too easily copied. But when all is said, 
 it may be claimed that he has ministered to the pleasure of millions 
 of his fellow-creatures, and that he was, and still is, certainly the 
 most universally popular composer that France has produced. 
 
 The centenary also brought to light Louisa Liebich's 
 translation of an article contributed by Debussy to 
 Musica in 1906, of which the following are some para- 
 graphs : — 
 
 A great many people with impartial minds — that is to say, 
 people who are not musicians — are wondering why they persist 
 in playing " Faust " at the Opera. Several reasons can be 
 
advanced in favour of this, of which the best is that Gounod's 
 art represents a certain phase of French sensibility. Whether 
 one wishes it or not, these things remain in the memory. 
 
 We care for such a diversity of things in France that we 
 have very little liking left for music. And yet there are some 
 very able people who in their every-day conversation, and by 
 every other token, proclaim themselves to be musicians. Only 
 they never compose any music — they encourage the others. It 
 is generally in that way that schools are founded. Do not talk 
 about Gounod to these persons ; they would contemn you in the 
 name of all they hold most sacred, which terms, however, possess 
 the special charm of being interchangeable. Goimod did not 
 belong to any school. This is somewhat the attitude also of the 
 public which responds to a number of aesthetic solicitations by 
 turning back to the music it has accustomed itself to. It does 
 not always possess the best taste. It oscillates tmdiscerningly 
 from " P^re la Victoire " to the " Walkiire." The people who 
 CO strangelj' compose what is called the ^lite may blow their 
 trumpets to call attention to celebrated or influential names ; 
 they are as soon forgotten as the fashion of a hat. It has no 
 effect ; educators may lose their breath, but the great anonymous 
 heart of the public will not be won. Still the spirit of art bloweth 
 where it listeth — the Opera continues persistingly to play " Faust." 
 
 After all, it would be as well to make up our minds and 
 admit that for the multitude art is altogether unavailing. But 
 to no greater extent is it the expression of a select few — who are 
 often more stupid than the masses. It is the intrinsic essence of 
 beauty that breaks forth with a fatal and silent force when it 
 needs must. But one can no more order people to appreciate 
 beauty than one can, with any propriety, insist that they should 
 walk on their hands. 
 
 Gounod, with his shortcomings, is a necessity. To begin 
 with he has a cultivated mind, he understands Palestrina, and 
 collaborates with Bach. His respect for tradition affords him 
 sufficient discernment to enable him to avoid invoking the name 
 of that other ill-determined foreign influence, Gluck. Rather 
 does he direct the affections of young people to Mozart,- — which is 
 proof positive of great disinterestedncLS, for he never derives 
 any inspiration from him. His relations with Mendelssohn are 
 more obvious, since he owes to him that manner of developing 
 and superposing his melodies which is very convenient if one is 
 not getting along very well. 
 
 To conclude these notes, which are all too scanty in proportion 
 to the ideas they have called forth, and which have been sometimes 
 inimical to Gounod, let us put away dogmatic stiffness and pay 
 respectful homage to his name. lyCt us remember that there are 
 innumerable reasons for his remaining in men's memories, and that 
 they need not necessarily always be momentous ones ; to be able 
 to quicken the emotions of a considerable number of one's con- 
 temporaries is one of the best ways of being remembered. No 
 one will wish to deny that Gounod employed himself thus very 
 generously. 
 
THE HISTORY OF "FAUST." 
 
 WHEN produced at the Theatre Lyriqiie, on March 
 19th, 1859, "Faust" gave no promise of becoming 
 an attraction, although the performance was satisfactory 
 and the prima donna, iVlarie Carvalho, " a thin shrill 
 soprano, as slender as her person," realised possibilities 
 in the role of Marguerite. 
 
 It may be noted that Gounod wished Wagner to be 
 invited to hear the work. Here is the letter he sent to 
 Charles Darcours, the secretary of the theatre : — 
 
 Dear Friend, — I am particularly anxious that Richard 
 Wagner should hear nij' score of " Faust." His opinion, and 
 even his criticicms, are amongst those we all need, and I should 
 be grieved for the representations to be carried through vpithout 
 his attention being drawn to the production. I will, therefore, 
 beg you to send him a good box for Tuesday's performance. — ■ 
 Yours always, Charles Gounod. 
 
 Wagner, on the other hand, confessed that " no 
 feeling of friendship had ever been able to induce me 
 to hear his ' Faust.' " 
 
 In the audience at the fifth performance were Frederick 
 Gye, the shrewd director of the Royal Italian Opera at 
 Covent Garden, who combined commercial foresight with 
 artistic endeavour, and Augustus Harris (his stage manager), 
 famous to-day as the father of " Druriolanus " Harris ; 
 and they returned dolefully to London, complaining 
 that there was only one number in the opera of any possible 
 value, the chorus for soldiers. (This was originally a chorus 
 for Cossacks in an opera — never completed — dealing 
 
with " Ivan the Terrible.") And Gye declined to make a 
 bid for the English performing rights ! 
 
 Antoine de Choudens, a young Frencn publisher, 
 had greater faith in the work, and on April 8th, 1859, 
 paid £400 for the right to publish it,* subject to certain 
 restrictions (which, however, did not interfere with him 
 making a fortune out of the venture), and he engaged 
 Leo Delibes to prepare a piano arrangement of the score. 
 
 After the production, Thomas Chappell, on June 13th, 
 1859, on the advice of Henry Fothergill Chorley, a musical 
 critic and a firm believer in the future of Gounod, secured 
 the English publishing rights from the composer's agent 
 for £160. It should be remembered that this speculation 
 was at a time when, as Chappell confessed, "Gounod, 
 although a highly esteemed musician, could not be deemed 
 a successful composer." 
 
 Meanwhile, some of the " Faust " melodies had 
 
 * Here is a copy of the original agreement : " Entre les soussignes 
 Mr. Charles Gounod, compositeur demeurant k Paris, Rue de la Roche- 
 foucault, No. 17, et agissant au nom de ses coUaborateurs, Mrs. Jules 
 Barbier et Michel Carre d'vme part, et Mr. Antoine de Choudens, 
 editeur de musique, demeurant a Paris, Rue St. Honore z65,d'autre part. 
 A etc fait ce qui suit : Mr. Charles Gounod vend et cMe a Mr. de 
 Choudens la propriete pleine et enti^re, sans aucune restriction ni 
 reserve pour la France et la Belgique seulement, I'ouvrage suivant 
 dont il est I'auteur. Savoir : Faust, opera en cinq actes represents 
 le ig Mars dernier au Theatre I/yrique. En consequence, Mr. de Chou- 
 dens est subroge dans tons les droits de I'auteur, et aura le droit, 
 k I'exclusion de tout autre, d'editer, publier, graver, imprimer et 
 vendre le dit ouvrage dans telle forme et telle publication qui ce soit, 
 pendant toute la duree du privilege accorde ou k accorder k I'auteur 
 ou a sa famille par les lois presentes et futures de tous pays. Mr. de 
 Choudens aura egalement le droit de publier tout arrangement de 
 cet ouvrage pour quelque instrument que ce soit. I<e prix de cette 
 vente et cession est fixt k la somme de Dix Mille Francs, dont quittance 
 fait double et de bonne foi a Paris, le huit Avril mil huit cent cinquante 
 neuf. Approuve le contenu ci-dessus, Signe Ch. Gounod, SignS de 
 Choudens." The money, however, was handed over in instalments, 
 £i20 being paid on signing the agreement, £40 a month later, £160 
 after the fiftieth performance, and the balance after " Faust " had 
 been performed in five towns, either in France or Belgium. 
 
 IS 
 
reached this side of the channel, and Charles Morton, then 
 
 running the Canterbury Hall, decided to programme a 
 
 " selection " at that establishment in Westminster Bridge 
 
 Road. The first was on April 24th, 1860, the soloists being 
 
 Charlotte Russell (Marguerite), Henry Herbert (Faust), 
 
 Charles Bernard (Mephistopheles), and Mrs. Anderson 
 
 (Siebel), and they were supported by " an efficient chorus." 
 
 Chorley referred to these performances in the dignified 
 
 Athenceum, on May 19th, 1860 : — 
 
 "We must return to offer a word or two on the selection from 
 M. Gounod's " Faust," given at Canterbury Hall, since Mr. 
 Morton's enterprise merits every possible credit, and its success 
 {in this case) is . . . more than commonly grateful to those 
 whose belief in a new and real artist has never wavered, countless 
 though the assaults and sarcasms on the subject have been,'* . . . 
 The pieces selected from the French opera are the opening duet 
 betwixt Faust and Mephistopheles, the valse (which, by the way, 
 is much better in its original form as dance and chorus, than as 
 converted into a solo bravura), the capital Kermesse chorus, 
 Faust's soliloquy in the garden, Margaret's scena over the jewels, 
 the soldiers' chorus (an inspiration, if there ever was such a thing), 
 and part of the final scena. 
 
 In the Morning Advertiser there was a report of the 
 
 first performance : — 
 
 lyovers of classical music enjoyed a rich treat last evening 
 at this highly popular place of entertainment, in listening to 
 delightful selections from Gounod's charming opera of " Faust." 
 . . . The band was full and complete, and under the able direction 
 of M. Jonghmanns, the conductor, did good service in ensuring 
 for the opera the great success which it achieved. 
 
 Thomas Chappell, having the English publishing 
 rights, was naturally anxious for the opera to be performed 
 in London, in order that he might sell copies of the music. 
 " English managers expected rather to be paid," he 
 wrote on December 13th, 1873, " than to pay for producing 
 
 * This remark was a gibe at Davison, who, not caring for the work 
 after hearing it in Paris, wrote in the Musical World : " Not only is 
 the story of ' Faust ' hackneyed, it is in my opinion ill adapted to 
 operatic purposes," and he pompously concluded : " I cannot argue 
 a prosperous career for the new opera." 
 
 i6 
 
a new opera, and this was fully established in the very 
 case of ' Faust,' as after having vainly endeavoured 
 during two years to persuade Mr. Gye and Mr. Harrison 
 to give that opera at Covent Garden, I had at last to 
 pay Mr. Mapleson £150 to produce it at Her Majesty's 
 Theatre."* The Haymarket impresario further stipulated 
 for an additional £200 after the fourth performance ! 
 
 Mapleson brought out the opera, with a scenic setting 
 by William Calcott, on June 11th, 1863. Nine days after- 
 wards he secured from Gounod the right to perform it at 
 Her Majesty's at a fee of £25 a representation. 
 
 The advance booking for the first performance amounted 
 to only £30, whereupon Mapleson adopted a scheme which, 
 though often copied, has seldom had the same result. He 
 advertised four consecutive performances (to get Chappell's 
 extra ;£200), and privately arranged that for the first three 
 representations only two reserved stalls should be sold 
 
 *The Rev. J. E. Cox, in his " Musical Recollections of the last 
 Half Century " (1872), made a curious confession : "The 'Faust' of 
 Gounod had been rejected again and again by Mr. F. Gye, of the 
 Royal Italian Opera. With many others, I thought that entrepreneur 
 was right in his decision, for I first heard that opera at Brussels and 
 could make nothing of it ; then at Berlin where I liked it less ; and 
 lastly at the I,yrique, Paris — where it was originally produced — only 
 to condemn it in toto. I am free to confess that in the whole experi- 
 ence of my life I never made a greater mistake. Mr. Mapleson had 
 the tact to perceive that the verdict of the cognoscenti — as they are 
 called — on this side of the Channel was a mistake, and he boldly ven- 
 tured to produce M. Gounod's chef d'ceuvre, as it turned out to be, 
 as the event of Her Majesty's Theatre season for 1863. ... To this 
 hour I maintain the opinion that from beginning to end the ' Faust ' 
 is nothing else than a delightful piece of musical mosaic, dovetailed 
 together from the compositions of every class of musical composer, 
 right and left, but with so much ingenuity, that it presents, especially 
 in the ' garden ' scene, a perfect picture, brimful of beauty, although 
 somewhat overloaded with a profusion of melody that is at times 
 cloying to the senses. It would be impossible to say how many times 
 I have heard the ' Faust ' since its first production at Her Majesty's 
 Theatre, but rarely have I been disappointed with it, although I have 
 never failed to detect fresh plagiarisms, which, although distinct 
 enough, may be forgiven on account of the admirable manner in 
 which they have been utilised." 
 
 iS 
 
to the public, all the other " paper " being distributed 
 among ardent though discreet and influential amateurs ! 
 Advertisements appeared stating that owing " to death in 
 a family " two stalls were for sale for the first performance. 
 These were speedily sold. Then enquiries were made at 
 the box-office for seats, but " everything sold " was the 
 reply to all requests. By this means the opera began to 
 be talked about. To help students to understand the 
 work, a booklet by Charles Lamb Kenney was published, 
 ■giving " the libretto narrated in prose, with analytical 
 notes on the music." 
 
 A few weeks later, on July 2nd, the sheeplike Gye, 
 Jealous of Mapleson's success, secured an agreement with 
 <jounod, Barbier, and Carre, for the English stage rights 
 ^'or £250 for three years, with an option to purchase for 
 £600 the sole right of performance in England for 25 years. 
 But on Jan 19th, 1864, this agreement was altered. Gye 
 complained when he learned of iVlapleson's agreement for 
 1:he right of performance at Her Majesty's, and the deposit 
 -was altered to ;£125, on the chance of his obtaining for 
 Gounod the fees for the representations in the Haymarket, 
 on which, by the way, Mapleson had paid nothing to the 
 composer ! Mapleson, however, had discovered that the 
 registration at Stationers' Hall was not in order — the opera 
 had been played in manuscript at the Paris premiere on 
 March 19th, 1859, and had not been registered in London 
 until June 22 ! He did not care about Gounod or Gye, 
 •and continued giving performances, in all 116! Gye, in 
 Ihe name of Gounod, then sued Mapleson for £5,000 dam- 
 ages, claiming the agreed upon fee of £25 for each of 94 
 specified performances, ranging from July 1st, 1863, to 
 April 26th, 1866, the balance being for loss sustained by 
 
 19 
 
those performances. Mapleson thereupon obtained leave 
 of the High Court to put certain interrogatories to Gounod,, 
 who then confessed that Mapleson had had permission 
 from him, but without the formal consent of the librettists,, 
 to give the representations in theHaymarket. Benjamin 
 Lumley was Mapleson's adviser and naturally knew every 
 trick in the legal game. When questioned as to the profits 
 he had made from the opera, the impresario wrote : 
 
 " If any profit has been made or was, in fact, made from the 
 representations given by me of the said opera of ' Faust,' I should 
 have received or have received such profit, but I am unable to 
 state what jorofit if any has been in fact made by such representa- 
 tions, because the profit or lots at the said theatre depends upon 
 the subscriptions for the season, as well as upon the nightly receipts, 
 and often depends also upon the attractions of other performances 
 as well as upon the opera represented, and it is impossible to say 
 how subscriptions are effected by the announcement at the 
 beginning of the season or b.v the performance of particular operas,, 
 or how far the nightly receipts are influenced b}' such other attrac- 
 tions. To the best of my belief I did not derive any profit whatever 
 from representations of the said opera of ' P'aust ' in the said- 
 theatre m the twelve months next before this action." 
 
 A good fighter, Gye recognised that his case was 
 hopeless, and the result of the squabbling was that he had 
 to pay Mapleson's taxed costs, which amounted to £202 5s. 
 
 Mapleson, it should be mentioned, introduced the 
 opera to the provinces, Manchester being the first city 
 honoured, the date being November 16th, 1863. 
 
 Gye staged the work at Covent Garden on July 2nd,, 
 1863, Gounod supervising the production for a fee of £100. 
 As a special attraction he secured Marie Carvalho, the 
 original Marguerite, of whom the critic of the Times wrote 
 that she " walks the stage with the placid composure and 
 muscular rigidity of a somnambulist." Arthur Sullivan 
 was the organist, and the scenic artist was William Beverley, 
 some of whose " cloths " are preserved to-day at the 
 theatre stores. 
 
The friendship between Gye and Gounod was not 
 lasting. This impresario bought the English stage rights 
 of " Romeo et Juliette " for £400, plus £300 a year for five 
 years, and thereafter £200 a year, payable half-yearly. 
 Gye did not pay the first instalment and consequently the 
 ■composer and librettists applied for the agreement to be 
 terminated. The Covent Garden manager, however, 
 naively suggested that they were in his debt to the tune of 
 £725 for his losses in connection with the " Faust " litiga- 
 ,tion ! 
 
 All kinds of arrangements of the opera have been 
 published. At the Promenade Concerts at Covent Garden 
 in 1863, a selection, arranged by Alfred Mellon, was played 
 nightly, and another selection, by Louis Jullien, figured 
 in the programmes of the Promenades at Her Majesty's, 
 lield in the late autumn. An edition " imitated from the 
 Prench by H. F. Chorley, adapted to the English words 
 and revised from the full score by E. F Rimbault," 
 .appeared in 1864, the year " The Beauties of ' Faust,' " 
 .a piano duet by W. H. Calcott, was printed. An edition 
 lOf the vocal score by Arthur Sullivan was produced in 1871. 
 In 1900 a new edition, " corrected and revised from the 
 full score," by Clarence Lucas, was issued. In 1903 came 
 yet another publication ; the plot was reconstructed and 
 the words rewritten by Florence Hoare, with " music 
 selected and adapted for colleges, academies and schools," 
 by Dr. Henry Fisher. Arrangements have been published 
 ior the harp, flute, violin, violoncello, cornet, organ, clarinet, 
 mandoline, and concertina, and also for piano and har- 
 monium duet, instrumental quartet and quintet, and 
 drum and fife band ! Nor must be forgotten the numerous 
 ■" bouquets de melodies," " pot-pourris," " reminiscences," 
 
" transcriptions," and " fantaisies," by wlnicli ambitious 
 " composers " have won fame by liaving tineir names 
 linl<ed witti Gounod's in publishers' catalogues ! 
 
 On July 29th, 1894, a sermon was preached on the- 
 opera by the Rev. Basil Barnhill, in the Montpottinger 
 Unitarian Chapel, Belfast, his text being " Send forth 
 Thy light " (Psalm 43, 3) ; in his discourse he said : " The 
 interests of religion and morality are never compromised 
 but are substantially promoted by such a work as 
 Gounod's ' Faust.' " 
 
 The opera was originally performed in Germany at 
 Darmstadt on February 10th, 1861, and in Berlin, January 
 5th, 1863. Gounod received £40 for the German publishing 
 rights. In Brussels the opera was introduced on February 
 25th, 1861, with Sophie Boulart as the heroine. Its first 
 performance in Vienna was in 1862, when Marie Dustmann 
 and Aloys Ander sustained the leading rfiles. In America 
 the opera was first heard on November 25th, 1863, under 
 the direction of JVlax Maretzek, at the Academy of Music, 
 New York City, with Clara Louise Kellogg as Marguerite, 
 Francesco Mazzoleni as Faust — " he munched cheese at 
 intervals all through the laboratory scene "—Hannibal 
 Biachi as Mephistopheles, Henrietta Sulzer as Siebel, and 
 Fanny Stockton as Martha. One newspaper, in criticising 
 this representation, which was in Italian, remarked : 
 " With the clumsily written uninspired melodies that the 
 solo singers have to declaim, there was the least possible 
 applause." Kellogg, in her " Reminiscences," mentioned 
 that she had to pay £40 for a blonde wig ! But to-day, 
 prima donnas are satisfied — so are the public — with their 
 own hair, and avoid unhealthy Chinese pigtails. There 
 is no artistic reason why a Marguerite should not have 
 
black or even green hair, so long as she looks attractive 
 and sings well. Tietjens secured a little advertisement by 
 being summoned at the Marylebone County Court in 
 1868, for a Marguerite wig she ordered from a lady hair- 
 dresser in Baker Street, and had not paid for because it 
 was not " of the fashionable colour," was not " natural 
 hair," and was a bad fit ! But she lost the case, and was 
 ordered to pay the account, which amounted to £15 17s. 
 
 There were 155 performances of " Faust " at Her 
 Majesty's. Up to the date of this publication,* there have 
 been 93 at Drury Lane, and 344 at Covent Garden — the 
 100th on April 23rd, 1877, the 200th on June 6th, 1893, 
 and the 300th on May 10th, 1906. In addition I have 
 records of 123 performances at other places of entertainment 
 in London. 
 
 As a contrast to these figures it may be mentioned that 
 124 performances of " Romeo et Juliette " have been given 
 at Covent Garden and 6 at Drury Lane, while " Philemon 
 et Baucis " can only boast of 30 representations at the 
 Bow Street house and 4 at Drury Lane. 
 
 In the British Museum index, 187 pages are devoted to 
 Gounod's compositions and arrangements thereof, of which 
 73 relate solely to " Faust." 
 
 * October ist, 1918. 
 
GOUNOD'S OPERAS IN LONDON. 
 
 " FAUST." 
 
 " Faust " ; libretto in five acts by Michel Carre and Jules Barbier ; 
 produced at the Theatre Lyrique, then situated in the Boulevard 
 du Temple, March 19th, 1859, with Marie Carvalho as Marguerite> 
 Joseph Barbot as Faust, Robert Balanque as Mephistopheles, Amelie 
 Faivre as Siebel, Marie Duclos as Martha, Cibot as Wagner, and 
 Reynald as Valentine. There were 57 representations at that house, 
 and when the theatre was moved to the Place du Chatelet, December 
 i8th, 1862, 142 more revivals were staged. On March 3rd, 1869, the 
 work, to which had been added the Walpurgis Xight ballet, was given 
 at the Opera, then in the Rue Drouot, with Christine Nilsson as the 
 heroine, I.ucien Collin as Faust, Jean Faure as Mephistopheles, Eugene 
 Mauduit as Siebel, and Devoyod as Valentine. The 500th performance 
 was celebrated on December 4th, 1887, Gounod conducting.* On 
 December 14th, 1894, there was a commemoration at the same house 
 of the " thousandth representation in Paris," when Rose Caron was 
 the Marguerite, Albert Alvarez the Faust, Jean Delmas the Mephisto- 
 pheles, Charlotte Agussol the Siebel, Blanche Des champs- Jehin the 
 Martha, and Maurice Renaud the Valentine. 
 
 The first performance in England was at Her Majesty's, June nth, 
 1863, in Italian, under the direction of Luigi Arditi, with Therese 
 Tietjens as Marguerite, Anton Guiglini as Faust, Edouard Gassier as 
 Mephistopheles, Zelia Trebelli as Siebel, Taccani as Martha, and Charles 
 Santley as \'alentine. Eighteen performances were given during the 
 season, which closed on August 8th. Six extra representations were 
 provided in October, with practically the same ca'it, the notable 
 exception being that Sims Reeves sustained the role of Faust. 
 
 At Covent Garden the opera was first mounted on July 2nd, 1863, 
 with Marie Carvalho as Marguerite, Enrico Tamberlick as Faust, Faure 
 as Mephistopheles, Constance Nantier-Didiee as Siebel, Mendielyustani 
 as Martha, Joseph Tagliafico as Wagner, and Francesco Graziani as 
 Valentine. Michael Costa conducted the eleven representations. 
 
 An English version, " imitated from the French," by Henry 
 Fothergill Chorley, was staged at Her Majesty's, January 23rd, 1864, 
 with Helen I<emmens-Sherrington as Marguerite, Sims Reeves as Faust, 
 Salvatore Marchesi as Mephistopheles, Florence Lancia as Siebel, 
 Taccani as Martha, Eugen Dussek as Wagner, and Santley as Valentine. 
 
 * It is worthy of record that for every performance at the Paris Opera 
 Gounod received, and his family receive to-day, £20. 
 
 24 
 
Arditi conducted. For this production Gounod composed tor Santley 
 the cavatina " Dio pofsente," linown in English as " Even bravest 
 heart may swell." The first matinee of the opera was given on 
 February 15th, and ten days later Santley took up the part of Mephis- 
 topheles, Charles Lyall impersonating ^'alentine. During the " grand " 
 season at Her Majesty'sjthere were 14 perionnances, withTietjens and 
 Guiglini as the lovers, and'CaroIine Eettelheim as Siebel. Tietjens and 
 Italo Gardoni appearedUwice in October, and the first of nine per- 
 formances in English was given on November 8th by a company 
 consisting of Louisa Pyne (Marguerite), Reeves (Faust), Marchesi 
 (Mephistopheles), Adeline Cottrell (Siebel), Binnington (Martha), 
 Haydn Corri (Wagner), and Gustave Garcia (Valentine). At Covent 
 Garden in 1864 Pauline Lucca (the first prima donna to appear as 
 a brunette "Marguerite) and Mario first appeared on May igth, and 
 their associates were Faure as Mephistopheles, Didiee as Siebel, Louise 
 Dall'Anese as Martha, and Graziani as Valentine. On June 7th 
 Adelina Patti* sustained the role for the first time. Marguerite 
 Deoiree-Artot, on July 19th, was heard as the heroine, and on that 
 occasion Giorgio Atry (billed as Attri) made his London debut as 
 Mephistopheles. 
 
 The 1865 season at Covent Garden opened on March 28th with 
 the opera, Berini being the heroine and Mario the Faust. A little 
 later Berini resigned the part to Lucca, who gave seven performances. 
 Twelve representations were given at Her Majesty's, starting January 
 1 6th, with Aima Hiles — alternating with Louisa Pyne — as Marguerite, 
 and Swift, who had been Reeves's understudy, as Faust. During the 
 " grand " season the principals were Tietjens and Gardoni. 
 
 Guiseppe Morini was the Faust at Her Majesty's on November 
 3rd, 1866. 
 
 On June 15th, 1867, Christine Nilfson made her London debut 
 at Her Majesty's as Marguerite. Another interesting debutante at 
 that theatre that year was Clara Louise Kellogg, who first appeared 
 on November 2nd. Her conception of the part is best illustrated by 
 her description of the heroine as " an easy dupe " !t 
 
 The first performance of the opera at Drury Lane was on July 2nd, 
 1868, when the principals were Nilsson and Mi=cha Ferensi. At 
 Covent Garden Jeanne Vanzini (Van Zandt) was the Marguerite on 
 April i8th to Mario's Faust ; on November loth the lovers were 
 Minnie Hauck and Carlo Bulterini. 
 
 Covent Garden was under the joint management of Gye and 
 Mapleson for the season of 1869, and a profit of £36,000 resulted ! 
 There were six revivals of " Faust " the first on May 24th ; Nilsson 
 was the Marguerite and Achille Corsi made his debut as the hero. ' 
 
 Auguste Vianesi conducted the first performance in 1870 at 
 
 * Gye's salary receipts show that Patti, up to 1872, was paid £160 a perform- 
 ance, and from then up to 1876 she received £210 every time she sang. 
 
 t In Melba's " Biography " it is stated that Gounod " minutely explained 
 to her the diiierence between the characters of Marguerite and Juliet, dwelling 
 especially on the simplicity of the poor peasant girl, who at first was too unso> 
 piiisticated to understand and later too timid to admit her ready adoration of 
 Faust. Juliet, he pointed out, was entirely diiidrent, and to the daughter of the 
 CapuJets he attributed unblushing forwardness. ' Juliet 6tait une afiront^e,' 
 he often repeated, and according to his reading Mdlle. Capulet deliberately set 
 herself the task of storming the citadel of young Montague's heart." 
 
[London Stereoscopic Co. 
 
 ALBANI AS MARGUERITE. 
 
 26 
 
Covent Garden ; this was on llav loth, when I^ucca was the heroine, . 
 Mario the Faust, Petit the Mephistopheles, and Sofia Scalchi the 
 Siebel. Foil was the Mephistopheles in a revival on November 17th, 
 and his conception of the part was criticised in a daily paper as being . 
 ' ' a complete error, wrong in idea, wrong in acting, and very wrong in 
 singing." At Drury I,ane on April 21st Caroline Reboux made her 
 debut as Marguerite ; Gardoni, the Faust, was not on the stage when 
 the curtain was raised, and it was recorded that " the audience marked 
 their appreciatioii. of the defect by refraining from applause at his 
 entrj'." On July' 20th Guilio Perotti made his debut as Faust,. 
 Xilsson being the Marguerite. 
 
 Ernest Xicolini's debut as Faust was at Drury I,ane on April 25th, 
 1871, and a fewweeks later Victor Capoul made his first appearance 
 in England at the same theatre. This was on June ist, when Pauline 
 Canissa was the Marguerite. Of this lady — who was rather stout — 
 the following is an outspoken criticism: "There is not much that 
 can be 'said in favour of her claim to be recognised as being fitted by 
 natural' or acquired excellencies for the part she essayed ; her voice 
 is not musical, her method is crude and impolished, her reading of 
 the music is not right, and her acting out of all character." Needless 
 to say, this " prima donna " did not reappear. At Covent Garden,, 
 on July 2 1st, Mathilde Sessi made her debut as the heroine, with Emil 
 Naudiu as j^aust. A performance there on July nth was notable 
 because it was Mario's last appearance as Faust, a character he had 
 impersonated 59 times. 
 
 In 1872 the first of the revivals at Covent Garden was on March 
 26th, with Clarice Sinico as Marguerite. On April 30th, at Drury Lane, 
 Marie Roze made her debut in I^ondon, Giovanni Vizzani bemg the 
 Faust. 
 
 There were three revivals at the Bow Street houce in 1873, with 
 Caroline Smeroschi as Marguerite and Nicolini as Faust. (The second 
 and third acts were included in the programme of the gala for the 
 Shah of Persia on June 21st, when the principals were Patti and 
 Nicolini, with Faure as Mephistopheles, Scalchi as Siebel, and Victor 
 Maurel as Valentine ; the conductor was Bevignani.) At Drury I^ane, 
 on May 6th, Italo Campanini made his debut as FauEt to Nilsson's 
 Marguerite, Armand Castelmary being the Mephistopheles and Justine 
 Macvitz the Siebel ; Costa conducted. On April ist, at the Cryctal 
 Palace, there was a pleasant performance, with Annie Goodail as 
 Marguerite and Joseph Maas as Faust ; this was directed by August 
 Manns. 
 
 At Covent Garden, on May 30th, 1874, there was a large audience 
 to hear Marie Marimon in the role of the heroine ; Clemence Calasch 
 then made her debut in the part of Siebel. The lovers, on July 15th, 
 were Patti and Nicolini ; this night was the diva's benefit, and no less 
 than £835 2s. was taken at the doors ! At Drury I<ane, on April 27th, 
 Marie Roze was the Marguerite, George Bentham the Faust, Giovanni 
 Rota the Mephistopheles, Trebelli the Siebel, and " Signer de Retchi," 
 who became famous as the tenor Jean de Reszke, the Valentine. 
 
 Emma Albani's first appearance as Marguerite was at Covent- 
 Garden on May 22nd, 1875, with Nicolini as Faust and Faure as 
 Mephistopheles; Vianesi conducted. On July i6th, the Canadian 
 prima donna had a benefit, when £557 gs. was paid at the doors for 
 admission. During a Carl Rosa season, at the Princess's, there were 
 
'five revivals, and at the first, on September 13th, Ostavia Torriani 
 was the JIarguerite, Fred Packard (making his debut) the Faust, F. H. 
 Cell! the Mephistopheles, I<ucy Franklein the Siebel, William Ludwig 
 the Wagner, and Enrico Campobello (Henry Martin) the Valentine ; 
 ■Carl Rosa conducted. At the subsequent representations Henry 
 Nordblom was the hero. 
 
 Carlo Carpi was the Faust at Covent Garden on April 25th, 1876, 
 supporting Albani the Marguerite ; at the second (and last) revival that 
 season, June 27th, lyUigi Bolis was the hero. Mapleson started a season 
 -at Drury I<ane with the opera on April 29th, when the principals were 
 Niltson and Alberto Stagno. There were two revivals in English at 
 the Lyceum in the autumn, both with Torriani as Marguerite and 
 Josephine Yorke as Siebel ; the Faust at the first, September 25th, 
 was Packard, at the second, October 21st, James W. Turner. 
 
 There were only four performances at Covent Garden in 1877, 
 At the first, on April 23rd (the looth representation at the Bow Street 
 house), Smeroschi and Victor Capoul sustained the chief roles. Albani 
 was the Marguerite at the second and third, when Guiliano Gayarre 
 was the Faust, Ordinas (who made his debut on May 31st) the 
 Mephistopheles, and Eva de Synnerberg (another debutante on that 
 date) the Siebel. The last revival was for Patti, who selected the opera 
 for her benefit on July 19th. At Her Majesty's, Christine Nilsson 
 was the Marguerite in the nine performances ; at the two first Gillandi 
 was the Faust ; at the following four, starting June 4th, Guiseppe 
 Fancelli ; and at the last three, Talbo, a young English tenor, whose 
 first appearance was on July 2nd. 
 
 " Faust " was very popular in 1878. At Her Majesty's the opening 
 revival took place on January 30th, Helene Crosmond making her 
 first appearance as the heroine ; Talbo was the hero, Franceschi (Bar- 
 rington Foote) the Mephistopheles, Florence I<eipold the Siebel, and 
 George Fox the "\'alentine ; Joseph li Calsi conducted. The first 
 revival during the " grand " season was on May 7th, with Minnie 
 Hauck and Fancelli, Wilhelmina Tremelli being the Siebel. On 
 May 22nd the lovers were Etelka Gerster and Italo Campanini. Four 
 performance^ were provided during an English season at the Adelphi 
 in the month of March ; Marie Fechter was the heroine, Joseph Maas ' 
 the Faust, Celli the Mephistopheles, and Yorke the Siebel, the con- 
 ductor being Carl Rosa. 
 
 In 1879 there were six revivals at Covent Garden. On April 19th 
 Emma TuroUa, the heroine, aroused surprise by respectfully bowing 
 to the audience when she first walked on the stage ! The principals, 
 on May loth were Patti and Nicolini, and Pierre Gailhard then made 
 his debut as Mephistopheles ; the cash receipts on this occasion were 
 i£663 IIS. On May 31st, the Saturday in Derby week, this cast proved 
 a great attraction, the money taken at the doors amounting to £709 lis. 
 Thirteen performances were staged at Her Majesty's during the year. 
 The first was on February 4th during an English season ; in this revival 
 the company engaged included Crosmond (Marguerite), Packard 
 (Faust), Celli (Mephistopheles), Yorke (Siebel), EUa Collins (Martha), 
 :and I,eslie Crotty (Valentine). Crosmond reappeared twice during 
 the winter season, when the Faust was FrapoUi, who had made his 
 debut on July i ith. 
 
 Nineteen revivals were provided in I^ondon in 1880. The first 
 .was a performance at Her Majesty's by the Carl Ro^a Company on 
 
 2S 
 
February 5th, when the principals were Julia Gaylord (Marguerite),- 
 Packard (Faust), George Conly (Mephistopheles), and Yorke (Siebel) ;- 
 Alberto Randegger conducted. On May 15th Arditi directed a fine 
 revival, with Nilsscn as Marguerite, Maas (his debut in Italian opera) as 
 Faust, Guiseppe del Puente as Mephistopheles, and Trebelli as Siebel. 
 A week later Francesco Runcio was the hero. The first of the autumn 
 revivals was notable on account of Mathilde Baucrmeister appearing 
 as Marguerite; this was on October i8th, and her associates were 
 \'izzani (advertised as Vizzarini) as Faust, Ordinas as Mephistopheles, 
 Olga de Morini as Siebel, and George Fox as A'alentine ; li Calsi con- 
 ducted. At the four next revivals EHse Widmar and Runcio were the 
 principals, the former's first appearance being on October 27th. On 
 November 27th Rosina Isidor was the Marguerite. There were four 
 performances at Covent Garden, two with Albani and Gayarre, and 
 two with Patti and Nicolini. 
 
 The King of the Sandwich Isles was present at Covent Garden in 
 a grand tier box (for which he had paid twelve guineas !) at a perform- 
 ance on Julj- 8th, 1881, and was understood to enjoy the singing of 
 Patti and Nicolini. The earliest revival of the season on May 3rd 
 brought forward Albani and Edmond Yergnet ; Joseph Dupont 
 conducted. At Her Majesty's there were four performances, with 
 Nilsson as Marguerite ; at the first, May 28th, Franco Novara (a 
 Wiltshireman whose real name was Francis Nash !) made his debut 
 as Jlephistopheles. During an autumn season run by Samuel Haj's 
 at the Lyceum there were six revivals. On October 15th the leading 
 singers were Marimon and Frapolli ; li Calsi conducting. Tito Mattel 
 directed the remaining five. On November gth, Rosina Isidor was the 
 IVIarguerite, Yizzani the Faust, and Alma Yerdini (who, on October 
 19th had sustained the role of the heroine) was the Siebel. 
 
 The Carl Rosa company gave two performances at Her Majesty's 
 in February, 1882. The earlier, on the i8th, was noteworthy on 
 account of Fernandez-Ben thani, the Marguerite, prophetically announc- 
 ing that it would be her only appearance ! McGuckin was the Faust, 
 George Snazelle the Mephistopheles, Yorke the Siebel, and Guilia 
 Warwick the Martha ; Randegger conducted. At Covent Garden on 
 April 22nd, Alwina \'alleria was the Marguerite, and Jacques Bouhy 
 made his I<ondon debut as Mephistopheles. 
 
 There were only five revivals in I^ondon in 1883. At Drury Lane 
 there was one performance, mider the direction of Eugene Goostens, 
 with Marie Roze and Packard as the principals. The first revival at 
 Covent Garden was on May loth, when I^ucca and Marconi were the 
 lovers, Gailhard the Mephistopheles, and Henri ette Stahl the Siebel. 
 
 The " Royal English Opera Company " started the 1884 revivals 
 at Covent Garden on January loth, Gaylord being the Marguerite to 
 Packard's Faust, Albert McGuckin the Mephistopheles and James 
 Sauvage the Valentine ; Gilbert Betjemann conducted this and the 
 second performance on January 30th, vphen Helen Armstrong was 
 the Siebel. The Carl Rota company had three revivals at Drury I<ane 
 under the direction of Randegger. At the first, April 26th, Berthe 
 Baldi and Maas were the lovers. During the " grand " season at 
 Covent Garden, Augustus Harris arranged four revivals. On Maj' ist, 
 Maria Durand and Marconi were the principals, and on May 12th, 
 Lucca and Ladislas Mierzwinski sustained the chief roles. Gertrude 
 Griswold made her debut on June 23rd, and provided an idyllic unaS' 
 
 29 
 
suniing impersonation of the heroine. This American had a good 
 reception. One observant critic wrote : " There was plenty of applause 
 to encourage the debutante, and flowers enough were thrown or handed 
 across the footlights to stock a large conservatory." 
 
 There were only seven revivals in Central I^ondon in 1885. Five 
 of these were provided by the Carl Rosa company at Drury Lane. 
 At the two first, April 8th and 20th, the principals were Georgina Bums 
 and Maas ; on W y 2 Marie Roze and Maas, May 8th, Bums 
 and Ben Davies' and on May 20th, Bums and Barton McGuckin. 
 The two representations at Covent Garden were on July 7th and 21st, 
 with Patti and Francesco Giannini as the lovers, Cherubini as Mephisto- 
 pheles, Scalchi as Siebel, and Innocente de Anna as Valentine ; Arditi 
 • conducted. 
 
 The first revival in 1886 was the memorable one on March 6th, at 
 Her Majesty's, with Zina D'Alti as Marguerite, Vizzani as Faust, 
 -and Vidal as Mephistopheles. After the second act there was a disturb- 
 ance by the stage hands, who appealed to the audience for money, 
 stating that they had received no wages ! Copper and silver coins 
 were thrown on the stage from all parts of the house before the curtain 
 -was finally lowered to close the unfortunate seven days' "season." 
 In subsequent police court proceedings it was announced that the 
 "impresario," who called himself "Monsieur Edouard Carillon," 
 was a monej' lender living in Brighton ! Four representations were 
 staged at Covent Garden, and on the last night — July 17th — Albani 
 was the Marguerite, Gayarre the Faust, Gaetano Monti the Mephisto- 
 pheles, Temira Lubavoti the Siebel, and Francesco d'Andrade the 
 \''alentine. Ella Russell was the heroine on June 26th, with de Falco, 
 then making his debut, as the lover. In November there were four 
 revivals at Her Majesty's, with Fides de Vries as Marguerite, Vergnet 
 •as Faust, Dauphin as Mephistopheles, and David de Vries as Valentine. 
 Various revivals were provided in 1887. There were eight at 
 Covent Garden. At the first, on March 26th, Lilian Nordica was the 
 ■heroine, Stefano Caylus the Faust, Vetta the Mephistopheles, Adelina 
 Borghi the Siebel, and del Puente the Valentine ; Logheder conducted. 
 Five days later Helene Hastreiter took up the role of Siebel, with 
 the same principals. On July 2nd, Guilia Valda was the Marguerite. 
 The Carl Rosa company gave two performances at Drury Lane in 
 May; on the 21st, Amelia GroU and Barton McGuckin were the 
 principals, and on the 28th, Edward Scovell was the Faust. . On June 
 -25th, at that theatre, Augustus Harris introduced the Walpurgis 
 Night act to London audiences ; the company on that occasion 
 consisted of Nordica (Marguerite), Jean de Reszke (Faust), Edouard 
 de Reszke (Mephistopheles), Guerrina Fabbri (Siebel), Carlotta Des- 
 vignes (Martha), Alfredo di Giorgio (Wagner), and Victor Maurel 
 (Valentine). In June, there were revivals at Her Majesty's with Alma 
 Frohstrom as the heroine. 
 
 At the first revival at Covent Garden in 1888, on May 19th, the 
 principals were Albani and Etienne de Reims. On June 6th and nth, 
 the lovers were Nordica and Jean de Reszke. 
 
 Zelie de Lussan first appeared as Marguerite in 1889, at Her 
 Majesty's ; and was supported on June 13th and 17th by Runcio as 
 Faust, Orma Darvell as Mephistopheles, and Saffo Bellincioni as Siebel ; 
 on June 22nd and 29th the Faust was Ignazio Warmuth. At Covent 
 Garden, Margaret Maclntyre was the heroine in the first of the revivals 
 
 30 
 
MELBA AS MARGUERITE. 
 
 [A. Dupont. 
 
 31 
 
on May :;otli ; on this occasion Montariol made his debut as Faust, 
 Castehiiary was the Mephistopheles, Scalchi the Siebtl, and Michael 
 "Wincgradcw the \'alentine. Albani was heard in the part of the heroine 
 on July 6th, when Jean de Reszke was the Faust. On July 20th, 
 Nellie Jlclba appeared as Marguerite, and on the 25th, Nordica and 
 Antonio d'Aiidrade were the lovers. (On July 2nd, the Cathedral 
 scene was included in the gala in honour of the Shah of Persia, when 
 Albani was the Marguerite, Jean de Reszke the Faust, Edouard de 
 Reszke the Mephistopheles, Scalchi the Siebel, and Jean I^assalle the 
 ^'alentine). At the Kennington Theatre on April loth, Ghita Corri 
 made her debut as Marguerite ; Reginald Brophy was the Faust, 
 Arthur Winckworth the Mephistopheles, Winifred I<udlam the Siebel, 
 Norah Roy the Martha, and Arthur Deane the \'alentine. 
 
 The Carl Rosa company in 1890 revived the opera at Drury Lane. 
 On April 8th the cast consisted of Fanny Moody and Rimcio as the 
 lovers, Abramoff as Mephistopheles, I,ucille Saunders as Siebel, Annie 
 Cook as ^Martha, Charles Campbell as Wagner, and Leslie Crotty as 
 Valentine. On Jlay eth, the Marguerite was Georgina Burns, and on 
 Jlay 14th, the lovers were Amanda Fabris and Ben Davies. The 
 ' ■ grand " season at Covent Garden opened with the work on Jlay igth 
 with de Nuovina and Jean de Reszke as the principals. On ^Ma}' 26th, 
 Nordica, was the Marguerite, Arturo Francheschetti making his debut 
 as Valentine. Melba sustained the role of the heroine on June 28th, 
 when the Faust was Ferdinand Valero. 
 
 The first of the iBgi revivals at Covent Garden was on April 7th, 
 when F;mma Eames* made her debut in this country as Marguerite ; 
 Perotti was the Faust, Maurel the Mephistopheles, and Olimpia Guercia 
 (another debutante) the Siebel. Mancinelli conducted. In the three 
 following performances Montariol was the hero and Agnes Jansen the 
 Siebel. On May 30th, Ernst van Dyck appeared as Faust. The 
 principals on Jime 17th were Zelie de Lussan and Luigi Ravelli. There 
 was a representation in the autumn season, November 3rd, when the 
 lovers were Marguerite Martini and Emile Cossira. 
 
 On July 25th, 1892, at Covent Garden, Ben Davies made his debut 
 in Italian opera as Faust, with Melba as Marguerite. During an 
 autumn season there were five revivals, the first being on October 15th 
 with Melba and Guiseppi Cremonini as the principals, and on November 
 19th Esther Palliser appeared as the heroine. 
 
 Leo Feld directed two revivals at Drurj- Lane in 1893, in each of 
 which Palliser was the Marguerite ; Giannini was the Faust on April 
 5th and on the 27th Joseph O'Mara sustained the tenor role. ' There 
 were six revivals at Covent Garden, in three of which Nordica and 
 Jean de Reszke were the " head-liners." The 200th performance at 
 that house was reached on June 6th, when Palliser and Salvaterra 
 (a newcomer) were the principals. Marie Brema was the Siebel on 
 June 15th, when Melba and Alvarez were the lovers. On May 3rd, the 
 students of the Guildhall School of Music gave a performance at the 
 Lyceum under the direction of Joseph Bamby ; Jessie Huddleston 
 was the Marguerite, Bates Maddison the Faust, Edward Epstein the 
 Jlephistopheles, Jessie Browning the Siebel, Leonora EUerton the 
 Martha, Wyatt Keith the Wagner, and Stuart Hj'att the Valentine. 
 
 * G. B. S., in the World, wrote : " As an actresss Miss Eames is intelligent, 
 ladylike and somewhat cold and colourless." 
 
PLANCON AS MEPHISTOPHELES. 
 
 33 
 
Joseph O'Mara Eustained the title-role in the revivals at Drury 
 Lane in 1894. On March 29th, his associates were Pauline Joran 
 (Marguerite), Hugh Chilvers (Mephistopheles), Biancoli (Siebel), and 
 Harrison Brockbanli (Valentine), the conductor being Armando 
 Seppilli. On April 14th, the part of the heroine was sustained by 
 Fanny Moody, and Charles Manners was the Mephistopheles. Bevignani 
 conducted the first of the eight revivals at Covent Garden, May 15th, 
 when Manette Simmonet and Cossira were the principals, Plancon 
 being the Mephistopheles, Joran the Siebel, and Albers the Valentine. 
 On May 25th, de Nuovina again proved herself a gentle heroine ; de 
 Lucia sang the tenor music, and Guilia Ravogli was the Siebel. 
 
 A series of revivals in 1895 opened with seven at Drury I,ane, 
 in all of which O'Mara was the Faust, Manners the Mephistopheles, 
 and Carla Dagmar the Siebel. On five occasions Fanny Moody was 
 the Marguerite and Joran sustained the role at the remainder. There 
 were revivals at Covent Garden, in four of which Melba was the prima 
 donna, and, in an autumn season, the heroine on November 4th was 
 Alice Esty. 
 
 The first of the London revivals in 1896 was at Daly's, on January 
 31st, when Esty was the Marguerite, Emanuel Hedmondt the Faust, 
 Alec Marsh the Mephistopheles, Florence Graham the Siebel, Charles 
 Tilbury the Wagner, and William PauU the Valentine ; Claude Jaquinot 
 conducted. At Drury Lane in April, Edwin Wareham was the Faust 
 to Joran's Marguerite. There were five revivals at Covent Garden. 
 In one Jean de Reszke was the Faust and Eames his Marguerite. 
 In three others Melba was the heroine, with Claude Bonnard as Faust 
 on two occasions and Alvarez once. 
 
 Maurice Grau started his management of Covent Garden on May 
 loth, 1897, with a revival, when Eames and Bonnard were the lovers, 
 Plancon the Mephistopheles, Stella Brazzi the Siebel, and Jean Note 
 the ^'alentine ; Maucinelli conducted. Four performances were pro- 
 vided by the Carl Rosa company at the Garrick in 1897. At the first 
 three Esty and Brozel were the lovers, Mar=h the Mephistopheles, and 
 Louise Kirkby-Lunn the Siebel. The principals in the fourth were 
 Bessie Macdonald and Hedmondt. 
 
 There were seven revivals at Covent Garden in 1898, the most 
 noteworthy being that on June i6th, when Emma Calve impersonated 
 Marguerite, with Albert Saleza as Faust and Marguerite Reid as Siebel. 
 Suzanne Adams interpreted the music of the heroine on five occasions. 
 
 Of the seven performances at Covent Garden in 1899, that on July 
 15th was interesting, in that Febea Strakosch appeared as Marguerite. 
 
 The 1900 season at Covent Garden started on May 14th, with a 
 performance in which Adams and Cossira sustained the leading parts. 
 Calve appeared on May 22nd, and there was also a single performance 
 for Maclntyre, July 19th, when Faust was embodied by Georges Imbart 
 de la Tour. 
 
 Some varieties of cast aroused interest in the eight representations 
 at the Royal Oi)era in 1901. On May 27th, the principals were Eames 
 and Saleza, with Kirkby-Lunn as Siebel and Hamilton Earle as Wagner. 
 John Coates was the Faust on June 19th to Melba's Marguerite, and 
 at the next performance, June 27th, Thomas Salignac was the hero, 
 the heroine being impersonated by Adams. 
 
 At Covent Garden in 1903, there were new representatives of the 
 heroine. On June 2nd, Lilian Blauvelt made her London debut, 
 
 34 
 
[Dover Stieel Slydio 
 
 CHARLES DALMORES AS FAUST. 
 
 35 
 
and on July 15th and 23rd, Mary Garden appeared with Alvarez as 
 Faust, In the course of an autumn season, Esty and I^ouis Arem 
 were the principals at the first of six revivals on August 28th. At 
 the other performances Esty was again the heroine and Francis 
 Macl^ennan the Faust. 
 
 Charles Dalmores was the Faust at each of the six performances 
 during the " grand " season at Covent Garden in 1904. During the 
 autumn there were four revivals, at the first of which, November loth, 
 Rina Giachetti was the heroine, and at the others the role was sustained 
 by Jeanne Wayda. A season of " National English Opera " was 
 started at Drury I<ane on May 21st, with a performance in which 
 Moody and O'Mara were the principals, Richard Eckhold conducting. 
 On June 7th, Clementine de Yere was the Marguerite, and on the 2 4th 
 Ella Russell. 
 
 Andre Messager directed a fine performance at Covent Garden on 
 June ist, 1905, with Melba and Dalmores as the principals. In that 
 season there were seven performances, at the second of which, June 7th, 
 Pauline Donalda appeared as the heroine. Wilhelm Herold was the 
 Faust on June 26th. On July 8th, Selma Kurz made her only appear- 
 ance as Marguerite. At two performances in the autumn, Giovanni 
 Zenatello was the Faust to Melba's Marguerite, Adamo Didur being 
 the Mephistopheles, and Mattia Battistini the Valentine. 
 
 On May loth, 1906, Donalda reappeared at Covent Garden as the 
 heroine ; Ivan Altchewsky was the Faust, Marcel Journet the Mephisto- 
 pheles, and Frank Arthur the Wagner. This was the 300th performance 
 at Covent Garden. Frances Alda was the Marguerite on May 24. 
 Fernando Carpi (a son of Carlo Carpi) was seen as the hero during an 
 autumn season, on October 25th. 
 
 Only one performance was provided during the " grand " season 
 of 1907 at Covent Garden. This, under the direction of Percy Pitt, took 
 place on June 14th, when Donalda and Carpi were the principals, 
 Journet the Mephistopheles, Alice Zeppilli the Siebel, Armand Crabbe 
 the Wagner, and Mario Sammarco the Valentine. In the autumn there 
 were two revivals, with Jessie I^indsay as Marguerite, Amadeo Bassi as 
 Faust, and Oreste I<uppi as Mephistopheles. Subsequently the Carl 
 Rosa Company had a season. On December 28th, Ina Hill and Edward 
 Davies were the happy couple, Winckworth the Mephistopheles, 
 Christine Ritz the Siebel, Frederick Clendon the Wagner, and Dillon 
 Shallard the Valentine ; Walter van Noorden conducted. On January 
 4th, 1908, Grace NichoU was the Marguerite, and four days later Eliza 
 ISurgess took up the part, being supported by Walter Wheatley as 
 Faust and Doris Woodall as Siebel. 
 
 Iconise Edvina was the Marguerite at the two revivals at Covent 
 Garden during the " grand " season of 1908. On July 15th, when she 
 made her debut, the Faust was Alessandro Bonci, the Siebel Caroline 
 Hatchard, and the Martha Edna Thornton, Ettore Panizza con- 
 ducting. (At the gala on May 27th, in honour of President Fallieres, 
 the second act was included in the programme, the principals being 
 Melba and Zenatello.) 
 
 Maria Kousnietzoff made her first appearance as Marguerite at 
 Covent Garden on May 28th, 1909. A performance on April 27th with 
 Edvina and Chanes Fontame m tne leading parts and Marthe Symiane 
 (her I,ondon debut) as Siebel, was boomed in the Press as the 300th at 
 that theatre, whereas it was the 321st. At a matinee during the 
 
 36 
 
autumn, November 6th, Gertrude \'ania (Renuyson) made her debut 
 as the heroine, Coates bemg the Faust. 
 
 Paul Franz was heard at Covent Garden for the first time as Faust 
 onMay loth, igio, whenEdvina was the Marguerite. Riccardo Martin 
 appeared as the hero on May 28th. Maggie Teyte made her debut on 
 November 8th, and another debutante was Mignon Nevada, who first 
 appeared on November 22nd. 
 
 Melba was the Marguerite in the two revivals at Covent Garden in 
 1 9 II. At the first on May 23rd Dalmores was the Faust, Edmund Burke 
 the Mephistopheles, Tina di Angelo the Siebel, and I<ouise Berat the 
 Marthi. At the I^ondon Opera House on December ist came the first of 
 four revivals with Aline Yallandri as Marguerite, Orville Harrold as 
 Faust, Francis Combe as Mephistopheles, Andre Kerlane as Siebel, 
 lionise Merlin as Martha, and Jose Danoe as \'alentine ; I,uigi Cherubini 
 conducted. 
 
 At the I^ondon Opera House there were seven revivals in 191 2. 
 On tour occasions Felice Lyne was the heroine and Harrold the Faust. 
 At the other representations the Marguerite was Berthe Cesar. Therj 
 was no performance at Covent Garden in 191 2, this being the first year 
 since its production there in 1863 that " Faust " was not heard in the 
 Bow Street house. 
 
 Melba reappeared in 1913 at Covent Garden ; at the first of the two 
 revivals on June 20th Franz was the Faust ; at the second, July ist, 
 John McCormack. This was the last representation before the theatre 
 was commandeered by the Government as a furniture store, because no 
 performance was given there during the 1914 season, which closed on 
 July 28th. 
 
 Ten revivals were provided at the Shaftesbury in the autumn of 
 1915. Hamish MacCunn conducted the performance on October 13th, 
 which was somewhat interrupted by a Zsppelin raid. The soloists 
 were Carrie Tubb (Marguerite), Frederick Blamey (Faust), Robert 
 Radford (Mephistopheles), Edith Clegg (Siebel) and Frederic Austin 
 (Valentine). 
 
 In 191 7 there were several performances in the summer and 
 autumn at Drury I,ane. On June 30th Thomas Beecham directed an 
 interesting revival with Miriam I^icette and Webster Millar as the 
 lovers and Robert ' Parker as Mephistopheles. Mignon Nevada was 
 the heroine on July 7th. At the Shaftesbury the previou'i night Clara 
 Simons was the Marguerite, and Edward Davies the Faust, the 
 conductor being Henri quez de la Fuente. 
 
 There were some revivals in 1918 at Drury I,ane. On June 4th 
 Licette and Blarney were the principals, and fifteen days later 
 Jeanne Bro'a and Webster Millar were the lovers, this representation 
 being conducted by Julius Harrison. A " centenary " performance at 
 the Shaftesbury on June 15th (the close of the Carl Rosa season there) 
 was directed by Herbert Ferrers ; Phyllis I,ansdell was the Marguerite, 
 Hughes Macklin the Faust, Winckworth the Mephistopheles, and 
 Phyllis Archibald the Siebel. 
 
 37 
 
"ROMEO Et JULIETTE." 
 
 " ROMEO ET Juliette " ; libretto in five acts by Jules Barbier and 
 Michel Carre ; produced at the Theatre Ivyrique, April 27th, 1867, with 
 Marie Carvalho and Michot in the principal parts, Cazaux as the Friar, 
 Jeanne Daram as Stephano, Duclos as Gertrude, Barre as Mercutio, 
 Troy as Capulet, Puget as Tybalt, and I,aurent as Benvolio. On 
 January 20th, 1873, it was performed at the Opera Comique, where the 
 1 00th representation was reached on September 30th, 1874. It was 
 first staged (with the necessary ballet) at the Opera, November 28th, 
 1888, with Adelina Patti and Jean de Reszke as the lovers, and Edouard 
 de Reszke as the Friar, Claude Taffenel being the conductor. 
 
 It was produced in London in Italian (the adaptation being by 
 Guiseppe Zaffira) at Covent Garden, July nth, 1867, with Patti and 
 Mario as the principals, Hraclito Bagagiolo as Friar I^aurent, I^eonora 
 Nau as Stephano (rechristened Balthasar), Antonio Cotogni as Mer- 
 cutio, Petit as Capulet, and Neri-Baraldi as Tybalt ; the seven repre- 
 sentations were under Costa's direction. 
 
 The following year, i858, there were three revivals at Covent 
 Garden, each with Patti and Mario in the chief characters. 
 
 In 1875 came the next revival. There were again three per- 
 formances at Covent Garden, Patti and Nicolini impersonating the 
 lovers, with Bagagiolo as the Friar, Bianca Bianchi (whose surname 
 was really Schwarz !) as Stephano, Cotogni as Mercutio, and Francesco 
 Graziani as Capulet. 
 
 The same couple reappeared at Covent Garden in the revivals in 
 1876, 1877, 1880, 1881 and 1882. 
 
 At Covent Garden in 1884 Albani was the Juliette, Marconi the 
 Romeo, Fdouard de Reszke the Friar, Cotogni the Mercutio, Devoyod 
 the Capulet, and Igenio Corsi the Tybalt ; Enrico Bevignani conducted. 
 
 There were no further revivals until i88g, when the opera was first 
 heard in French, under the direction of Luigi Mancinelli ; at the initial 
 representation, June 1 5th, Melba and Jean de Reszke were the lovers, 
 Edouard de Reszke the I^aurent, Jeanne de Vigne the Stephano, Henri 
 Seguiu the Capulet, and Montariol tlie Tybalt. There were seven per- 
 formances, the last being given at the close of the season, July 27th. 
 
 In 1890 the Carl Rosa Company gave, on April 5th, the first of 
 three performances in English at Drury Lane, Henry Brougham Famie's 
 version being used ; Zelie de Lussan and Barton McGuckin were the 
 principals, Abramoff the Friar. Kate Drew th' Stephano, Annie Cook 
 the Gertrude, Frank Celli the Mercutio, Max Eugene the Capulet, and 
 John Child the Tybalt ; Eugene Goossens conducted. There were four 
 revivals at Covent Garden during the " grand " season, under Man- 
 cinelli's direction, the first on June 3rd, with Melba and Jean de Reszke 
 in the chief parts, Edouard de Reszke as the Friar, Regma Pinkert as 
 Stephano, and Plunket Greene as the Duke. 
 
 On April 15th, 1891, the first of seven revivals was given at Covent 
 Garden with Eames and Jean de Reszke as the lovers, and Agnes 
 Jansen as Stephano. The opera was also played three times during an 
 autumn season there, the first being on October 20th, with Manette 
 Simmonet and Emile Cossira in the chief parts, Leon Jehin conducting. 
 
 In 1892 there were three revivals at Covent Garden, all with Jean 
 de Reszke as the hero ; in the first two Eames was the Juliet, and Melba 
 was the heroine in the last. 
 
 38 
 
JEAN DE RESZKE AS ROMEO. 
 39 
 
 [Benqiie. 
 
Melba appeared in each of the seven revivals at Covent Garden in 
 1893. At the first and second the Romeo wa-, Alvarez, and Jean de 
 Reszke was the lover in the others. Olimpia Guercia impersonated 
 Stephano in two performances, CarlaDagniar in two, and I,ucille Hill in 
 the remainder. On July 4th there was a special performance in honour 
 of the marriage of the Duke of York and Princess Mary, the cast con- 
 sisting of Melba (Juliette), Jean de Reszke (Romeo), Hill (Stephano), 
 Bauermeister (Gertrude), Alexis Ghasne (Mercutio), Plancon (Capulet), 
 Bonnard (Tybalt), and Castelmary (the Duke) ; Mancinelli conducted. 
 
 There were seven revivals at Covent Garden in 1894, with Melba 
 and Jean de Reszke a; the lovers. 
 
 Melba and Alvarez were the principals in the six revivals at Covent 
 Garden in 1895, that on July 29th being the last night of the season. 
 The students of the Guildhall School of Music gave a performance at 
 Drury Lane on May 3rd ; Jessie Huddleston and Voyd Chandos 
 sustained the chief roles. 
 
 The 1896 season at Covent Garden opened and closed with this 
 work. On the first night, May nth, Eames and Jean de Reszke were 
 the lovers ; on the last, July 28th, Melba and Alvarez. 
 
 The Carl Rosa Company gave a revival in English at tlie Garrick 
 on January 19th, 1897, with Alice Esty as Juliet, Philip Brozel as 
 Romeo, Charles Tilbury as the Friar, Eily Heenan as Stephano, Lillie 
 Williams as Gertrude, Alec Marsh as Mercutio, George Fox as Capulet, 
 Frank Wood as Tybalt, and Hom,er I,ind as the Duke ; Claude Jaquinot 
 conducted. That year there were four revivals at Covent Garden. At 
 the first and second Frances Saville was the heroine. At the third 
 Eames and Jean de Reszke were the lovers. On June 7th, Marie Engle 
 and Bonnard were the principals. ('I'he third act was included in the 
 gala on June 23rd in celebration of Queen.Mctoria's sixtieth anniversary 
 of Her accession, when Melba was the Juliet and de Reszke the Romeo.) 
 
 There were five revivals in 1898 at Covent Garden. At the first 
 three Suzanne Adaihs and Albert Saleza impersonated the lovers. The 
 season closed with this opera on July 26tli, when the principals were 
 Melba and Saleza, Fanchon Thompson being the Stephano. The next 
 day there was a " command " performance at Windsor Castle, when 
 the company was headed by Eames and Saleza. Among the " supers " 
 were a few musical critics, vifho made full use of this experience ! 
 
 Febea Strakosch was the Juliet on May 12th, the first of the six 
 revivals-in 1899 at Covent Garden. 
 
 The following year the part of the heroine during the five revivals 
 at Covent Garden was sustained by Melba. 
 
 Ancjre Messager started his management at Covent Garden on May 
 13th, 1901, with this opera, when Eames and Saleza were the principa 5. 
 Five revivals were presented ; the last, on July 2gth (the looth at the 
 Bow Street house), brought the season to a close, Melba and Thomas 
 Salignac sustaining the chidf roles. 
 
 In 1902 there were seven revivals at Covent Garden ; Saleza, the 
 Romeo in each, had Adams as his Juliet on five occasions, and Melba 
 on two. 
 
 In the " grand " season of 1903 at Covent Garden, there were 
 three performances, when an interesting variety in the assumption 
 of the heroine was brought about by the introduction on June loth 
 of Mary Garden. (The second act formed part of the programme 
 of the gala on July 7th, in honour of President I^oubet, when the lovers 
 
 40 
 
EAMES AS JULIETTE. 
 
 [A. Dupoiil. 
 
 41 
 
were Melba and Alvarez.) The opera was ako staged at Covent 
 Garden in the autumn, on August 24th, at the start of an English 
 season, when Fanny Moody was the Juliet, Joseph O'Mara the Romeo, 
 Charles Manners the Friar, and Florfnce Easton the Stephano. 
 
 Saleza was the Romeo at the two revivals in 1904 at Covent 
 Garden ; on May 5th he sang with Adams, and five days afterwards 
 with Melba. 
 
 Selma Kurz appeared for the first time at Covent Garden as Juliet 
 on June 17th, 1905, Charles Dalmores supporting her as Romeo, 
 Elizabeth Parkina as Stephano, and Jeanne Paulin as Gertrude. 
 There were five revivals, at three of which Pauline Donalda was the 
 heroine. (The " balcony " scene was included in the gala on June 8th, 
 in honour of the King of Spain, when Kurz was the Juliet and Dalmores 
 the Romeo.) 
 
 There was a single revival at Covent Garden in 1906, June 14th, 
 when Pauline Donalda and Ivan Alchewsky were the lovers. 
 
 Melba appeared in each of the three revivals at Covent Garden in 
 1911, and was supported by Paul Franz as Romeo, Vauni Marcoux as 
 the Friar, Betty Booker as Stephano, and Dinh Gilly as Mercutio ; the 
 conductor was Ettore Panizza. 
 
 Felice I<yne charmed opera lovers with her girlish impersonation 
 — there were eight — of Juliet at the London 'Opera House, April 22nd, 
 191 2 ; Orville Harrold was the Romeo, Henry Weldon the Friar, Andre 
 Kerlane the Stephano, I,ydia Locke the Gertrude, Francis Combe the 
 Capulet, and Georges Regis the Tybalt ; Fritz Emaldy was the con- 
 ductor. 
 
 The opera was revived for Melba at Covent Garden in 1913. At 
 the second performance, July 28th, which brought the season to a close, 
 the Romeo was Franz, Francis Roeder the Stephano, Louise Berat 
 the Gertrude, Gustave Huberdeau the Capulet, and Gaston Sergeant 
 the Duke. 
 
 The first of six revivals at the Shaftesbury in 191 5 was on 
 October 2nd, when Miriam Licette and Webster Millar were the lovers, 
 Foster Richardson the Friar, Evelyn Matthews the Stephano, Frederick 
 Blarney the Tybalt, and William Samuell the Mercutio ; this was 
 conducted by Thomas Beecham. 
 
 On June 27th, 1918, Beecham staged the opera at Drury Lane, 
 with Madeline Collins as Juliet, Millar as Romeo, Robert Radford as 
 the Friar, Clytie Hine as Stephano, Blamey as Tybalt, and Herbert 
 Langley as Mercutio. At the second performance, July 9th, Miriam 
 Licette was the heroine. 
 
 "PHILEMON ET BAUCIS." 
 
 " Philemon et Baucis " ; libretto in three acts, by Jules Barbier 
 and Michel Carrj, produced at the Theatre Lyrique February i8th, 
 i860, with Marie Carvalho as the heroine, Froment as Philemon, 
 Prosper de Bataille as Jupiter, and Robert Balanqu* as Vulcan. 
 The work, reduced to two acts, was revived at the Opera Comique 
 May i6th, 1876, with Marguerite Chapuy and Nicot as the happy 
 couple whose mutual love is disturbed by an accession to wealth as a 
 reward for their constancy, and Jacques Bouhy and Alfred Giraudet 
 as the gods who provoke the trouble. 
 
 4= 
 
The first performance in England was at Co vent Garden, October 
 24th, 1891 , with Manette Simmonet as Baucis, Etnile Engel as Philemon, 
 Bouvet as Jupiter, and Emile I,orrain as Vulcan ; I,eon Jehin con- 
 ducted. There were six representations. 
 
 It was revived at Covent Garden on May i6th, 1892, the opening 
 night of the season, with Sigrid Amoldson and Montariol as the lovers 
 and Polydore Plaucon and Armand Castelmary as th= gods. This 
 quartet gave ten performances at Covent Garden and three at Drury 
 I<aue, the first there being on July 6th, 
 
 There were four revivals in 1893 at Covent Garden, with Amold- 
 son, Bonnard, Plancon, and Castelmary as the singers ; the conductor 
 was Bevignani. The students of the Guildhall School of Music revived 
 the opera on December i8th, when Jessie Huddleston was the Baucis, 
 Fred Williams the Philemon, Charles Hinchcliff the Jupiter and 
 Dwight Edwards the Vulcan ; Joseph Bamby conducted. 
 
 An English version of the work, written by Joseph Bennett, was 
 produced at Drury I<ane, April 26th, 1894, with Fanny Moody and 
 Joseph O'Mara as the lovers, and Charles Manners and David Bispham 
 as the gods ; only one representation was given. Four performances 
 in French were staged at Covent Garden ; in three the principals were 
 Simmonet, Bonnard, Plancon, and Castelmary, and at the fourth the 
 lovers were impersonated by Amoldson and Alvarez. (On July 6th 
 " Philemon et Baucis " was performed at Windsor Castle, the quartet 
 consisting of Amoldson, Alvarez, Plancon, and Castelmary.) 
 
 There were only two revivals at Covent Garden in 1895, and the 
 quartet on each occasion comprised Marie Engle, Bonnard, Plancon, 
 and Castelmary ; Bevignani conducted. 
 
 " Philemon " was heard once during the 1896 season at Covent 
 Garden ; this was on May 14th, when Engle, Bonnard, Charles Gilibert, 
 and Castelmary formed the quartet. 
 
 The work was next given at Covent Garden on May 17th, 1898, 
 with Engle, Bonnard, Plancon, and Marcel Joumet, Philippe Flon 
 conducting. 
 
 After another rest, it was revived at Covent Garden on May 4th 
 and 19th, 1904, the singers being Marguerite Sylva, Fassin, Cotreuil, 
 and Joumet. 
 
 "MIREILLE." 
 
 " MiRELLLE " ; libretto in five acts, by Michel Carrfe, based on 
 Mistral's " Mireio " ; produced at the Theatre I^j^ique, March 19th 
 1864, with Marie Carvalho as the heroine, Andrea Marini as her lover 
 Vincent, Caroline Reboux as Vincenzina, Jean Kmael as Urias the 
 wealthy cattle drover. Petit as the rich farmer Ramon, the father of 
 Mireille, and Francois Wartel as the poor basket-maker Ambrois, and 
 Constance Faure doubled the parts of the fortune-teller Tavien and 
 the shepherd boy Andreluno. For a revival, on December 15th, 
 1864, the work was reduced to three acts. (This " idyll " was 
 composed at Saint Remy-de-Provence, and the fiftieth anniversary 
 of its production was celebrated there on September 6th, 1913, a 
 memorial plaque being placed over the Maison Roux, where the music 
 was originally played over.) 
 
 The opera was introduced to England in an Italian form, at Her 
 Majesty's, July 5th, 1864, with Therese Tietjens in the title role, 
 
 43 
 
Antonio Giuglini as Vincenzo, Reboux As Vincenzina his sister, Ctarles 
 Santley as Urias, Marcello Junca as Raimondo, Edouard Gassier as 
 Ambrogio, Elisa Volpini as Andreluno, and Zelia Trebelli as Tavena. 
 The seven performances were conducted by I<uigi Arditi. 
 
 At a revival at Covent Garden, April 2gth, 1887, Emma Nevada 
 impersonated Mireille, Stefano Caylus was the Vincenzo, Innocente 
 de Anna the Urias, David Miranda the Raimondo, Antonio de Vaschetti 
 the Ambrogio, I,ablache the witch, and Marie E igle the shepherd boy. 
 
 It was revived in French (with Enrico Bevignani as conductor) 
 at the Bow Street house, June loth, i8gi, with Emma Eames as the 
 heroine, I<ubert as Vincent, Paul Ceste as Urias, Jacques Isnardon as 
 Ramon, Jenny Passama as Tavena, and Regina Pinkert as " le Berger." 
 
 On December 4th, 1899, the students of the Guildhall School of 
 Music under the direction of Ernest Ford, revived the opera. Gertrude 
 Gardner sustained the title role, Henry Sowerbutts was the \'incent, 
 Eva Hardy the Vincenza, Franljlin Head the Urias, Percy Beadle the 
 Ramon, Henry Corner the Ambrogio, Stewart Dyer the Tavena, and 
 Nellie Schroder the Andreluna. 
 
 "LA REINE DE SABA." 
 
 " IvA Reine de Saba " ; libretto in four acts, by Michel Carre and 
 Jules Barbier, founded on a story by Gerard de Nerval ; produced at 
 the Opera, Paris, February 29th, 1862, with Pauline Gueymard as 
 Balkis, I<ouis Gueymard as Adoniram, and Jules Belval as Soliman. 
 
 Under the title of " Irene," an English adaptation by H. B. 
 Farnie was introduced at a concert at the Crystal Palace, August 12th, 
 1865, with Helen Lemmens -Sherrington singing the music of th- 
 Queen, W. H. Cummings as Muriel, and I<ewis Thomas as the Sultan. 
 August Manns conducted this and the repetition performance on 
 February 24th, 1866. Farnie changed the religious atmosphere of the 
 original by altering the main incident ; the building of King Solomon's 
 Temple became the construction of the Great Mosque at Constanti- 
 nople by Sultan Suliman. The heroine breaks her engagement to 
 marry the Sultan because she is in love with Muriel, the chief of a 
 company of masons engaged in the building. Three workmen, 
 dissatisfied with their pay and prospects, conspire against Muriel and 
 eventually murder him. " Lend me your aid " is Muriel's first Song 
 in the opening act, the Queen's cavatina, " Far greater in his lowly 
 state," occurs in the second, and " She alone charmeth my sadness " 
 is sung by the Sultan in the fourth, when he learns that Irene is no 
 longer in love with him. 
 
 " Irene " was produced on the English stage at the Royal, 
 Manchester, March loth, 1880, with Blanche Cole as the heroine, 
 James W. Turner as Muriel, and William IvUdwig as Suliman, the 
 conductor being Frederick Archer. There was a revival at that 
 theatre by the same company on April 21st of that year. 
 
 The first of three performances by the students of the Guildhall 
 School of Music was given in their theatre on November nth, 1909, 
 conducted by Richard Walthew ; I^ilian Stiles-Allen succeeded as the 
 heroine, Alfred Steed impersonated Muriel, and Robert Fletcher 
 represented the Sultan. 
 
 44 
 
" LE MEDECIN MALGRE LUI." 
 
 " 1,E Medecin Malgre I<ui "; libretto in three acts by the com- 
 poser (with the assistance of Jules Barbier and Michel Carre), based on 
 Moliere's comedy ; produced at the Theatre I^yrique, January 15th, 
 1858, with Auguste Meillet as the Mock Doctor, Amelie Faivre as his 
 termagant wife Martine, I,esage as Geronte the father of I<ucinde 
 (Caye) in love with Meander (Froment), Girard as the nurse Jacqueline, 
 and Alfred Giraudet as her husband iucas. 
 
 An adaptation by Charles I,amb Kenney, entitled " The Mock 
 Doctor," was produced at the " Royal English Opera," Covent Garden 
 February 27th, 1865,' with Henry Corri as Dominique, Elizabe'h 
 Poole as Martine, Aynsley Cook as Geronte, Annie Thirlwall as I,ucinda 
 and Henry Haigh as I^eander ; Fanny Huddart was the Jacqueline, 
 and Charles I,yall her husband. Alfred Mellon conducted the fifteen 
 performances, and in the autumn there were four more. 
 
 On November 24th, 1890, " The Mock Doctor" was revived at 
 the Globe, with Richard Temple as the hero Sganarelle, Susetta Fenn 
 as Martine, Sebastian King as Geronte, Effie Chapuy as I^ucinda, 
 King Morgan as Meander, Annie Dwelly as Jacqueline, and Kelson 
 Trueman as I<ucas. Victor Champion conducted. 
 
 The Royal Academy of Music students gave a performance at the 
 Avenue on February 26th, 1891, when Allen Taussig was the Sganarelle, 
 Violet Robinson the Martine, Bert Mayne the Geronte, Virginie Cheron 
 the I,ucinda, Charles Edwards the I>ander, Hannah Jones the nurse, 
 and John Fletcher the I,ucas. Alberto Randegger was the conductor. 
 
 The students of the Guildhall School of Music revived the work in 
 their own theatre on February 24th, 1899, under the direction of 
 Ernest Ford. Abel Hustler was the Doctor, I,eonora Ellerton the 
 Martine, Wyatt Keith the Geronte, Ida Norbury the I<ucinda, James 
 Johnson the I<eander, and George Dawson the I,ucas. 
 
 "CINQ MARS." 
 
 " Cinq Mars " ; libretto in four acts by Paul Poirson and Louis 
 Gallet, based on Alfred de Vigny's romance ; produced at the Opera 
 Comique, April 5th, 1877, with Etienne de Reims in the title role, 
 Stephanne as the Marquis's friend the Count de Thou, Chevrier as the 
 Princesse Marie, and Alfred Giraudet as Richelieu's subaltern. Father 
 Joseph. The story relates to the Marquis de Cinq Mars, a traitor 
 who, at the age of twenty-two, was beheaded. He fell in love with 
 Marie de Gonzague, whom Richelieu wished to become Queen of 
 Poland, but (in the third act) she married the young " hero " and 
 on hearing of his fate she fell dead. 
 
 An English version was produced at the Grand, I<eeds, or October 
 26th, 1900, and played at the Coronet, London, on November 17th of 
 the same year, with Julius Walther as the Marquis, Arthur Deane 
 as de Thou, Aurelie Revy as the Princess Marie, and Alexander 
 Be van as Father Joseph. 
 
 * The overture to this opera was first heard in London at the St. James' 
 Hall on January 27th, 1864, at a concert given by the Musical Society. 
 
 45 
 
"SAPHO." 
 
 " SApHo " ; libretto in three acts, bs- Emile Augier ; produced at 
 the Academic Nationale de Musique, April ifith, 1851, with Pauline 
 Viardot in the title role, Julie Poinsot as the courtesan Glycere, I<ouis 
 Gueymard as Phaon, Bremond as the amorous Pithias, and Marie as 
 Alcce. There were nine representations. It was reduced to two 
 acts for a revival at that house July 26th, 1858, when it was staged 
 nineteen times. Gounod rearranged and enlarged the work to four 
 acts for the Opera, March 31st, 1884, when Gabrielle Krauss appeared 
 as the heroine, Marie Richard was the Glycere, Etienne de Reims the 
 Phaon, Pierre Gailhard the Pithias, and I/eon MelchlEsedec the Alcce. 
 
 The first performance in England was in Italian, at Covent 
 Garden, on August gth, 1851, under the direction of Michael Cofta, 
 with Pauline \'iardot in her original part, Jeanne Castellan as Glicera, 
 Enrico Tamberlick as Faone, Antonio Tamburini as Pitia, and Maralti 
 as Alceo. Three nights later the opera "was repeated ; it was " but 
 coldly received, and having been mercilessly written down by certain 
 critics may be said to have been little else than condemned out of 
 hand." 
 
 "LA COLOMBE." 
 
 " lyA CoLOMBE " ; libretto in two acts by Jules Barbier and Michel 
 Carre, based on I,a Fontaine's " I<e Faucon " ; produced at the Opera 
 Comique, June 7th, 1866 (after a performance at the Casino at Baden- 
 Baden, August 6th, i860, with Marie Carvalho as Sylvie, Amelie. 
 Faivre as Mayet, Gustave Roger as Horace, and Robert Balanque as 
 Maitre Jean), with Cico, Girard, Capoul and Bataille as the quartet. 
 
 All English version by H. B. Famie, called ** The Pet Dove," 
 was produced at the Crystal Palace, September 20th, 1870, with 
 Blanche Cole as Sylvia the heiress, beloved by the penniless Hubert 
 Jocelyn (Henry Haigh), Annie Thirlwall as Phyllis, and Connell as 
 the old servant Hippocras. This was conducted by August Manns, 
 who, on September 28th, 1867, had introduced the intermezzo in the 
 opera to Sj^denham amateurs. 
 
 t6 
 
Monographs by Richard Northcott. 
 Published by the Press Printers, Ltd., Long Acre, W.C. 2. 
 
 Donizetti : A Sketch of his Life and a Record of 
 His Operas. 
 
 " A labour of love, and the labour must have been as great 
 as the love to collect such a mass of names and dates of notable 
 performances of the composer's works. Mr, Northcott writes 
 sympathetically of the composer, but with franlcness concerning 
 his failings." — Referee. 
 
 Bizet and " Carmen." 
 
 " A little volume that should be in the hands of every opera- 
 lover.*' — Observer. 
 
 The Story of Wagner's " Parsifal," with Notes on 
 THE Poem and the Music* 
 
 " That over 15,000 copies of the boolclet have already been 
 sold, sufficiently attests its appreciation by the public." — 
 Westminster Gazette. 
 
 " Parsifal " and Wagner's other Operas.* 
 
 " Into it there is compressed much knowledge of Wagner's 
 music, with fresh gleanings about it, and the style is terse and 
 readat)le." — Daily Chronicle. 
 
 Souvenir of the London Production of " Parsifal."* 
 " An admirable guide." — Morning Post. 
 
 Royal Performances in London Theatres.* 
 
 " The time spent in the research necessary to bring to light 
 all that Mr. Northcott has collected into his little volume, great 
 though it must have been, has been amply rewarded, for he has 
 set down nothing that is not of interest, while the value of the 
 book to the student of our social-musical history is very great." 
 — Robin I,e3ge in Daily Telegraph. 
 
 A Short History of the First Masonic Opera, " The 
 Generous Freemason."* 
 " Mr. Richard Northcott has, with a great deal of care and 
 evidently no small labour, written a most interesting little 
 iiistory." — Pall Mall Gazette. 
 
 * Out of print. 
 47 
 
Charles Dibdin's Masonic Pantomime, " Harlequin 
 Freemason."* 
 
 " Mr, Northcott's monogtaph is extremely interesting." — 
 Pall Mall GazdU. 
 
 Musical Freemasons.* 
 A Tribute to Algarotti. 
 
 " A reprint of Algarotti's once famous essay on the Optra, 
 together with an interesting sketch of his life. ... I have 
 read both the essay and the admirably concise biography with 
 much interest, and warmly commend Mr. Northcott's pages 
 to all who take a more or less intelligent interest in the history 
 of one of the most fascinating of art forms." — Ernest Kuhe in 
 Lady^s Pictorial. 
 
 " BIr. Richard Northcott has done a real service to the musical 
 world in issuing this delightful little book." — Musical Times. 
 
 Jacques Offenbach : A Sketch of his Life and a 
 Record of his Operas. 
 
 " In the rapidly growing series of monographs on operatic 
 subjects due to the diligent research and accurate and methodical 
 mode of workmanship characteristic of Richard Northcott, one 
 could hardly find a more valuable, detailed, and admirably 
 exhaustive one than that on Jacques Offenbach." — Stage. 
 
 Beethoven's " Fidelio " in London. 
 
 " Mr. Richard Northcott, whose little books on music are 
 tabloids of information not elsewhere accessible, has just pub- 
 lished ' Beethoven's " Fidelio " in I<ondon.' I,ike its predeces- 
 sors, the brochure bespeaks careful research, and the facts 
 about the famous opera are stated comprehensively, clearly, 
 and concisely." — Sunday Times. 
 
 " While on the subject of opera I may seasonably compliment 
 Jlr. Richard Northcott on his recently issued monograph on 
 Beethoven's ' Fidelio.' Mr. Northcott has lately acquired 
 a habit of compiling miniature works of facts and dates which 
 are so reliable as to be of considerable value for reference." — 
 Referee. 
 
 Gounod's Operas in London. 
 
 Sir Henry Rowley Bishop. [Nearly Ready. 
 
 The Work of the Grand Opera Syndicate at Covent 
 Garden. [In Preparation.