>w ■mtm iiMJiiiuMljlMaiMaiJiiUMiliiMiijiikuiwM CORNELL UNIVERSITY L I BRARY A Gift from the Performing Arts Collection of Marvin K. Frankle Class of 1931 CORNELL UNIVERSITY LIBRARY 924 068 919 Cornell University Library The original of tiiis 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/cu31924068919012 ^Usir Ki'-> VICTOR 5GDK oPthc Stories of Onc-JiwDdrccL Operas mtf^ivc-Jtuvdrcd illustrations (^ descriptions of Onc-Tbousand Victor Opera Rccoi Copyright 1912 VICTOR TALKING MACHINE COMPANY Camden, New Jersey, U. S. A. REVISED EDITION Copyright 1913 VICTOR TALKING MACHINE COMPANY Camden, New Jersey, U. S. A. ||||IPI[[|IIINIII|1[I!1I! m JridojC A LTHOUGH the Opera Stories in this book are in alphabetical order, "■ under the most familiar of the various titles, this index will be found convenient for quick reference. Africana, Africaine 11 Aida 15 Amleto 169 Andrea Chenier .27 Ballo in Maschera 261 Barbiere di Siviglia 29 Bartered Bride 35 Boheme 3 7 Bohemian Girl 43 Carmen 47 Cavalleria Rusticana .... 61 Chimes of TMormandy 67 Contes d'Hoffman 411 Damnation of Faust 68 Daughter of the Regiment . . 72 Dinorah 73 Don Carlos 75 Don Giovanni, Don Juan . . 7 7 Donne Curiose 83 Don Pasquale 85 Dusk of the Gods 162 Elisir d'Amore (Elixir) ... 91 Ernani 94 Falstaff 101 Faust 103 Favorita, La 126 Fidelio 131 Flauto Magico 226 Flying Dutchman 134 Force of Destiny 141 Forza del Destino, La . ■ 141 Fra Diavolo 146 Freeshooter, The 149 Freischutz, Der 149 Germania 152 Gioconda, La ... .... 155 Gotterdammerung 162 Griselidis 167 Guglielmo Tell 472 Guillaume Tell 472 Hamlet 169 Hansel and Gretel 173 Hernani 94 Herodiade, Herodias . • .177 Huguenots, Les 180 Jewels of the Madonna ■ 187 King of Lahore, The 384 Konigskinder 189 L'Africana, L' Africaine ... 11 Lakme .192 Linda di Chamounix • • . 196 Lobetanz ...197 Lohengrin 199 Louise 208 Lucia di Lammermoor .... 209 Lucrezia Borgia . ..... .216 Madama Butterfly 219 Magic Flute, The 226 Manon (Massenet) . . • .231 Manon Lescaut (Puccini) 241 (Index continued on pare 5) ■mmnmiMi i p i I iiiiiii i i i i iii 'n i I i i m ii iiiii — I m jTidoX^ continued Maritana 245 Marriage of Figaro 247 Martha, Marta 253 Masked Ball 261 Mefistofele 267 Meistersinger, Die 273 Mephistopheles 267 Mignon 279 Mikado 286 Mireille 289 Natoma 291 Norma 294 Nozze di Figaro 247 Orfeo ed Euridice 29 7 Orpheus and Eurydice 29 7 Otello 300 Pagliacci 305 Parsifal 319 Patience 336 Pearl Fishers 338 Pearl of Brazil . . 342 Pecheurs de Perles, Les . 338 Pescatori di Perle 338 Pinafore . . 343 Pirates of Penzance 345 Prof eta, Prophete 347 Prophet, The 347 Puritani. I 352 Puritans, The 352 Queen of Sheba (Goldmark) 355 Queen of Sheba (Gounod) 356 Regina di Saba 355 Re Pastore, II 358 Rheingold, Das 359 Rigoletto 365 Rinaldo 379 Robert le Diable 380 Robert the Devil 380 Robin Hood 382 Roi de Lahore, Le 384 Romeo and Juliet 385 Rustic Chivalry 61 Samson and Delilah 391 Samson et Dalila 391 Sapho (Gounod) 394 Segreto di Susanna 395 Semiramide 396 Shepherd King, The . . 358 Sicilian Vespers 459 Siegfried 399 Snegourotchka 405 Sno^v Maiden, The ... 405 Sonnambula, La 407 Tales of Hoffman 411 Tannhauser 415 Thais 425 Tosca 428 Traviata, La 435 Tristan und Isolde ... 443 Tr6mpetervonSakkingen,The458 Troubadour, The 447 Trovatore, II 447 Trumpeter of Sackingen, The 458 Ugonotti, Gli 180 Valkyrie, La 460 Vascello Fantasma, II . 134 Vespri Sicilian!, I 459 Walkiire, Die 460 Werther 470 ■William Tell 472 Zauberflote, Die 226 Zaza 479 iiiiinimiiiiiiiiiniiiiiiiiiiiiiiiiiiiiiiiniiiiiiiiii iiiiiii i ii ii i iiiiiiiiii ii iii ii iiii ii iy ii ii i ii i iiiiiii i i ii iiiiiiiiii iiiiiMiiiiiiiiiiiiiiiiiiiiiiiiiiilllllllllllllllliiiiilllllillliiii m foreword Opera in America The opera has at last come into its own in the United States. In former years merely the pastime of the well-to-do in New York City and vicinity, grand opera is now enjoyed for its own sake by miUions of hearers through- out the country. Boston, Chicago, Philadelphia, New Orleans, San Francisco and Montreal now have their regular opera season ; while many other cities have arranged for occasional performances. The Victor Responsible for Much of this Awakened Interest During the recent season several hundred performances of grand opera, at an estimated cost of millions of dollars, were given in the United States. This great outlay for dramatic music alone would not have been possible had it not been for the increased interest aroused in opera by the wide- spread distribution by the Victor during the past ten years of hundreds of thousands of grand opera records, at widely varying prices — from the double-faced records by well-known Italian and French artists of Europe, at 37J-2 cents per selection, to the great concerted numbers by famous singers at $6.00 and $7.00. The Opera-Goer and the Victor Even though fortunate enough to be able to attend the opera, the lover of operatic music is reminded that with the Victor and the operatic records his enjoyment of the opera may be greatly increased. The favor- ite singers may be heard at home as often as desired, and their voices will be just as natural as in life. Do you think Caruso the greatest of tenors ? Then do not be satisfied ■with an occasional hearing of his glorious voice at the opera, but let him sing for you and your friends by means of the Victor. Is Sembrich, Farrar, Tetrazzini, Gadski, Calve, Schumann-Heink, Homer or Amato your favorite singer ? The Victor makes it possible to hear these voices at any time, no matter v^^here the artists may be singing. Voices of Absent Singers Do you regret that Melba is often in Australia or Europe ? There is consolation in the thought that her voice is always here in all its loveliness, indelibly impressed on Victor discs. Have you memories of Tamagno v^rhen he was at his best ? The Victor Vi^ill revive these memories for you by bringing the voice of this singer back from the grave. (FomworJ continued on page 9) IIIIIIIIIHHmillllllHilllllllllMIM iiiiimiiiiiii iiiiinmii im i a ^OreWOrd'Continued The Victor an Excellent Substitute for the Opera For every person who can attend the opera there are a hundred -who cannot. However, many thousands of lovers of the opera in the latter class have discovered v/hat a satisfactory substitute the Victor is, for it brings the actual voices of the great singers to the home, w^ith the added advantage that the artist w^ill repeat the favorite aria as many times as may be v^rished, w^hile at the opera one must usually be content w^ith a single hearing ; and even though the scenery and costumes may be lacking, the absence of these accessories will now be atoned for in some measure by the graphic descriptions and numerous illustrations in this book. The Victor Opera Season Never Ends In former years, after the close of the opera season and the annual migration of the artists to Europe, no one seemed to think much about grand opera or opera singers. The Victor, however, has changed all this, and operatic records now form a most important part of the musical life of the home ; and at all seasons of the year may be heard the voices of the great singers, a consolation and a delight to opera lovers. This Book the First of Its Kind This little work is unique in many respects, and while there are many excellent books describing the plots of the operas, w^e think that in no other book on opera can be found all of these features : ^ Titles in various languages, w^ith pronunciation of each. ^ Date and place of original production. ^ Date and place of first performance in America. ^ Cast of characters and pronunciation of the same w^hen necessary. ^ Brief and clearly stated synopsis of plots of one hundred different operas. ^ Translations (all or part) of the text of several hundred separate numbers. ^ Every act and scene indicated, with description of the stage setting. ^ Every separate number mentioned in its proper place in the opera, and the numbers placed in the order in which they occur. ^ More than five hundred portraits and pictures, making it the most completely illustrated book on opera ever published. NOTE — Acknowledgment must be made to Oliver Ditson Co. and G. Schirmer for kind perfaission to quote occasionally from their copyrighted publications. Both these houses have set nev^ standards with their operatic publications — Schirmer with superbly printed opera scores and collections of opera airs entitled "Operatic Anthology"; and Ditson with the Musicians' Library, masterpieces of music typography. iiiniiHiiiiimmi in iniiiiniiiiiiniiiiiiimi!! Vasco hrforv Scene in the PrU SC FM s FROM L \FRTCAINE Thr .\fassar,-v—Act TIT (Italian) L'AFRICANA (Z.a/-ree-^a/i'-na/j3 (German) DIE AFRIKANERIN {Dee Ah-free-koh' -ner-in) (French) UAFRICAINE (Laf-ree-kahni (English) THE AFRICAN OPERA IN FIVE ACTS Text by Scribe ; music by Meyerbeer. First procJuced at the Jlcademie, Paris, April 28, 1865. First London production in Italian, under the French title, at Covent Garden, July 22, 1865; and in English at the Royal English Opera, Covent Garden, October 21, 1865. First New York production December 1, 1865. Revived in 1906 at the Metropolitan, with Caruso, Fremstad, Plan^on and Journet. Characters in the Opera SELIKA, (Smi-ke -kah) a slave, formerly an African princess Soprano Inez, (£e'-nez) daughter of Don Diego Soprano Anna, her attendant Contralto NELUSKO, [Nav-loos -ko) a slave, formerly an African chief Basso Don Pedro, {Don Pav'-dm) President of the Royal Council Basso Grande INQUISITORE Basso Don Diego, (Don Oee-av'-go) Member of the Council Basso High Priest of Brahma (Brah'.mah) Basso Don ALVAR, Member of the Council Tenor VASCO D1 GAMA, (Vahs -ko dee Gah' -mah) an officer in the Portuguese Navy, Tenor Chorus of Counsellors, Inquisitors, Sailors, Indians and Attendant Ladies. The action occurs in Portugal, on Don Pedro 's ship at sea, and in India, II VICTOR BOOK OF THE OPERA — THE AFRICAN ACT I — Council Chamber of the King of Portugal The first scene occurs at Portugal, in the King's Council Chamber, whither Vasco di Gama has come to announce his discovery of a strange land, producing two of the native slaves, Selil^a and Nelus^o, as proof. In this scene is given the noble and stately chorus Dio che la terra venera (Thou W^hom the Universe Adores) By La Scala Chorus (h Italian) *e)2614 10-inch, $0.75 Don Pedro, President of the Council, ^vho wishes to marry Vasco 's sv^^eetheart, Inez, influences that body to discredit the explorer's tale and throve him into prison with his slaves. In the prison scene occurs this duet between Selil^a and di Gama. ACT II — Prison of the Inquisition As the curtain rises Vasco is seen asleep on a bench, while Selil^a watches over him. She gazes at the sleeping youth and sings this beautiful lullaby. Aria de Sonno, " In grembo a me" ("Lulled in My Arms) By Margarete Matzenauer, Contralto (In Italian) 88360 12-inch, $3.00 The slave, seeing her master's grief over his inability to find the route to the unknown country, reveals to him the location of the coveted land. Vasco, overcome with gratitude, embraces her. Sei I'angiol diletto (Oh! Guardian Angel!) By Tina Farelli, Soprano, and Gino Martinez-Patti, Tenor [In Italian) *62407 10-inch, $0.75 Inez consents to marry Don Pedro in order to save Vasco, who is released, but too late to prevent his enemy from sailing in search of the unknown land, carrying with him Vasco's private papers and maps as well as the two slaves, Selil^a and Nelusl(o. The latter, who loves Selika, has discovered her attachment for Vasco, and through jealousy offers to guide Don Pedro to his country. The young officer secures a ship and goes in pursuit. ACT III— Dec^s of Don Pedro's Ship Preludio (Prelude to Act III) By La Scala Orchestra *62614 10-inch, $0.75 Act 111 shows the decks of Don Pedro's vessel. Nelusk.0, who is secretly plotting to de- stroy the ship, is brooding over his plans; and his gloomy bearing being noticed by the sailors, they ask him to relate the old legend of Adamastor, king of the seas. Adamastor, Re dell' onde profonde (Ruler of Ocean) By Francesco Cigada, Baritone (In Italian) *62407 10-inch, $0.75 Nelusku: When tlie gale rolls o'er the deep, Adamastor, monarch of the patiile.ss deep. Then Ix-ware. then beware! Swift o'er foaming waves ^"^^^ 'Jj^ lightning's flash reveals to thine eye. To sound of fierce winds trainiiing; When his dark steeds vex the misty sea, Beware, mariner 1 Beware, mariner 1 FAURE AS NELUSK bee. , ^ _^ ^ Hmv the dark waves seek the storm-laden sky! All hope now is lost. For the doomed wretch no tomb, None, none but a w-atery grave! A storm is threatened, and amid the preparations for resisting the 1.1 lUj./-^ ■ II "i i' ■"' ■^■"•=""5 '"c elements a ship is seen, which proves to be di Gamas. He rashly comes on board, is promptly seized by Dor, Pedro and is about to be executed, when Selika draws her dagger and threatens to kill Inez unless her lover is re eased. The tyrant reluctantly yields, but afterward orders Selika to be Hogged. 1 he storm breaks, and in its midst the ship is boarded by Indians, fellow-country- men of Nelusko, and the entire ship s company are either killed or made prisoners. ACT l^/— Temple of Brahma Act ly represents the Temple of Brahma in the country of Selika and Nelusko The act opens w ith the weird and striking Indian March, played here by the Herbert Orchestra. *DoMe.FaceJ Record— For title of opposile side see DOUBLE-FACED L'AFRICANA RECORDS, page 13 12 VICTOR BOOK OF THE OPERA— THE AFRICAN 12-inch, $1.25 12-inch, 1.25 12-inch, 12-inch, 12-inch, 12-inch, $3.00 1.50 1.50 1.25 Marcia Indiana (Indian March) By Victor Herbert's Orchestra 70068 By La Scala Orchestra *6802 7 The priests, who have crowned Selit^a their Queen, announce the execution of all the prisoners except fiasco ; and he too is con- demned to die. The priests and people disperse and Vasco enters, guarded by soldiers. He is entranced with the beauty of this won- derful land, of which he had dreamed, and voices his admiration in the celebrated air, "O Paradiso. " O Paradiso ! (Oh Paradise !) ^^^^_ By Enrico Caruso, Tenor [In Italian) 88054 i ^l^l^H By Florencio Constantino (/n/(a/ian) 74085 l> jS^^m By Evan Williams (In English) 74148 By Lambert Murphy (In Italian) 70100 \'asco: Hail! fruitful land of iilenty, beauteous gar- deTi, haill An earthly paradise art thou! Oh Paradise on earth! Oh azure sky, oh fragrant air All enchant my heart; Thou fair new world art mine! Thee, a radiant gift. On my native land I'll bestow! O beauteous country — mine thou art at last! Caruso's singing of this famous air is a magnificent performance, while two other fine records are offered in both Italian and English. The soldiers are about to kill Vasco, but he is saved by Selika, who announces that he is her chosen husband. Nelusk.0 is forced to remain silent by threats that Selika will destroy herself. Di Gama, forgetting Inez, yields to the spell and weds the Queen by the native rites. ACT V— SCENE \—The Queen's Gardens At the beginning of the last act, Inez, who had escaped from the prison, is captured and brought before the Queen, who becomes convinced that di Gama still loves the Portuguese maiden. In a moment of generosity she sacrifices her own feelings and assists the lovers to escape. ACT V — SCENE \\— Promontory Cher the Sea The final scene shows a promontory from which Selika is watching the ship bearing Inez and di Gama toward Portugal. As the vessel disappears from view she advances toward the deadly mancanilla tree, the fumes of which are death. Selika; Aye! here I look upon the mighty sea — bound- less — infinite As is my woe ! Its waves in angry fury break, and then anon their course renew. As doth my sorrowing heart! iOhscrving tlie mancauiUa tree.) Gathering the fatal flowers, she inhales their perfume, sadly saying : I forgive thee !" She is overcome and sinks unconscious beneath th Thou leafy temple, thou vault of foliage dark, .\fter life's weary tumult I now come To seek repose of thee. my woes, Yes! thy shade eternal the tomb! and find oblivion from is like the darkness of "Farewe tree my Vasco, Nelusko, who torgive thee 1 one is overcome has come in search of her, finds her dying; and in a frenzy of grief, also inhales the deadly blossoms and falls lifeless by her side. DOUBLE-FACED L'AFRICAINE RECORDS /Marcia Indiana (Indian March) By La Scala Orchestra \ Traviata—Preludio By La Scala Orchestra IAdamastor, Re dell onde profonde ( Adamaster, Ruler of the Ocean) By Francesco Cigada, Baritone (In Italian) Sei L'angiol di letto (Oh. Guardian Angel!) By Tina Farelli, Soprano; G. Martinez-Patti, Tenor (In Italian]] /Die che la terra venera By La Scala Chorus (In ^l''l'''"^\(,2i,l4 IPreludio— Atto III By La Scala Orchestral '■'■' Double-Faced Record — For title of opposite side see above list. 68027 12-inch, $1,25 62407 10-inch, .75 10-inch, .75 (Italian) AIDA (Ah-ee'-dah) OPERA IN FOUR ACTS Text translated from the French of L^ocle by Antonio Ghislanzoni. Music by Giuseppe Verdi. First produced in Cairo, December 24, 1871 ; at La Scala, Milan, February 8, 1872; in Pans. April 22. 1876; at Covent Garden. June 22, 1876; at St. Petersburg. 1879. First performance in America at the Academy of Music. New York, November 26, 1873. the cast including Tornani, Gary, Campanini and Maurel. Produced in New York m 1886 in both German and in English. Characters of the Drama AlDA, an Ethiopian slave Soprano The King of Egypt Bass AMNERIS. iAm-nare'-iss) his daughter Mezzo-Soprano RHADAMES, iRahd'-ah-maze) Captain of the Guard Tenor AMONASRO, (Am-oh-nahz'-roh) King of Ethiopia Baritone RAMFIS, (Rahm'-fiss) High Priest Bass A Messenger Tenor Priests, Priestesses, Ministers, Captains. Soldiers. Officials, Ethiopian Slaves and Prisoners. Egyptians, etc. The scene is laid in Memphis and Thebe Pharaoh' s time. This opera was written by request of the Viceroy of Egypt, w^ho v/ished to celebrate the opening of his new^ Opera House at Cairo by the production of a w^ork upon an Egyptian subject from the pen of the most popular composer of the time. The story originated with Marietta Bey, the famous Egyptologist, and seems to have inspired Verdi to unusual efforts. Aida, daughter of Amonasro, King of Ethiopia, has been captured by the Egyptians and is a slave at the Court of Memphis, w^here she and the young soldier Hhadames have fallen in love w^ith each other. Rhadames goes to the Egyptian war, and during his absence the King's daughter, Amneris, discovers his attachment and is furious, as she herself loves R_hadames. Rhadames returns, covered v^^ith glory and bringing many prisoners, among them Amonasro, Aida's father. The King releases all the prisoners except Amonasro, and bestow^s his daughter on the unvsrilling Rhadames. in the next scene Amonasro forces his daughter to persuade Rhadames to become a traitor. The latter's love for Aida and his distaste for the approaching union w^ith Amneris lead him to consent. Amneris, how^ever, has overheard the plot, and after vainly trying to induce Rhadames to abandon Aida, she denounces him as a traitor, and he is condemned to be buried alive. When the vault is sealed he discovers Aida, who had concealed herself there that she might die with him ; and the lovers slowly suffocate in each other's arms. ACT I SCENE I — A Hall in the Palace. Through the grand gate at the back. "I'^i' ^c seen the Pyramids and the Temples of Memphis The opera has no overture. The curiam rises, showing a BEfiT, PARIS hall in the palace of the King of Memphis, where Rhadames CARUSO AS RTIAnA^r[.s and the High Priest, Ramfis, are discussing the coming 15 VICTOR BOOK OF THE OPER A— V E R D I ' S A I D A invasion of Ethiopia; and Ramfis hints that some young and brave warrior may be chosen to command the expedition. Fihadames, left alone, hopes that he himself may gain the coveted honor, and promises to lay his triumphs at the feet of his Aida. Celeste Aida (Heavenly Aida) By Enrico Caruso, Tenor { In Italian) 88127 12-inch, $3.00 By Leo Slezak. Tenor [In German) 64113 10-inch, 1.00 Then occurs the splendid gem of Act 1, the Celeste Aida, beginning V,-l>Jl t.'J^F CIS. - ^^ /■ ^ ^ ^.^ - ^ ^ - , Ce - k sle A ■ i - da, (or - m.i di vi - na,— tin sii-co ser-lo di tu ■ ce e fior Heav'n-ly A - i ■ da. b^aii ly te-il>Un-dcii! ,~ Ra - di aitt fiou-er.btoom-ing and bright in w^hich Rhadames chants the praises of the peerless Aida. It is seldom enjoyed at the opera, especially in America, as it occurs almost immediately after the rise of the curtain, and is invariably marred by the noise made by late comers. With the Victor, however, it may be heard in all its beauty and the fine renditions by Caruso and Slezak fully appreciated. AS RMADAMHS Rhadamks: Heavt-nly Aida, Ijeauty resplendent, Radiant flower, blooming and bright; Queenly thou reignt:st o'fr nie transcendent. Bathing my spirit in beauty's light. \\'ould that thy Ijiight skies once more behold- ing. Breathing the soft airs of ihy native land, Round tliy fair brow a diadem folding'. Thine were a throne next the snn tn stand! T DOVER Sr STUDIOS MARTIN AS liJlADAMES A fine trio, expressing the emotions of the characters in the scene, then follows. Ohitne ! di guerra fremere (Alas ! the Cry of War I Hear) By Elena Ruszcowska, Soprano ; Bianca Lavin de Casas, Mezzo-Soprano ; Egidio Cu- nego. Tenor (/n//a//an] 88261 12-inch, $3,00 The King's daughter, Amneris, enters, and seeing the young warrior's glowing enthusiasm, delicately hints of her secret affection for him, saying: Am xeris: A\'hat unwonted fire in thy glance I With what noble pride glows thy face! Worthy of envy — nh, Iiow nuich — \\'ould lie the woman whose beloved aspect Should awaken in thee this light of joy! Rhadames begins to explain his hope of securing the command of the expedition, when Aida enters, and the young soldiers expressive glance reveals to Amneris his love for the Egyptian slave. The King and his guards enter and receive a messenger, v/ho reports that Egypt has been invaded by the Ethiopian army, under the command of Amonasro. ("My fatherl" exclaims Aida aside.) Amid great excitement Rhadames is appointed leader of the army, and is presented with a banner by Amneris. The King begins another trio, urging the Egyptian forces to guard with their lives the sacred Nile. VICTOR BOOK OF THE OPER A— V E R D I ' S A I D A Su! del Nilo (Nilus' Sacred Shores!) By Elena Ruszcowska, Soprano ; Maria Cappiello, Mezzo-Soprano; Tapergi and Davi [In Italian) 88266 12-inch, $3.00 Following the trio comes a grand chorus: To battle! We'll hunt the invader down. On! Rhadames, thy brow may laurels crown! All depart to prepare for the expedition, while Aida, left alone, gives w^ay to her grief and sings the beautiful Hitorna vincitor, expressing her conflicting emotions. Ritorna vincitor (Return Victorious !) By Johanna Gadski, Soprano (In Italian) 88137 X2-inch. $3.00 Aida: Return victorious! And from my lii)s Went forth the impious word! Conqueror Of my father — of him who takes arms For me — to give me atiain A country; a kingdom; and the illustrious name Which here I am forced to conceal ! The insane word forget, O gods; Return the daughter To the bosom of her father: Destroy the squadrons of our oppressors!. . . What am 1 saying? And my 1nvc, Can 1 ever foiget This fervid love which oppresses and enslaves. As the sun's ray which now blesses nic? Shall I call death on Rhadames — On him whom I love so much? Ah! Never on earth was heart torn by more cruel agonies! She gives way to her emotion for a brief moment, then sings the lovely and appealing I sacri nomi (The Sacred Names) By Celestina Boninsegna, Soprano Rousing herself she calls on her gods for aid and goes slow^ly out as the curtain falls. SCENE II — The Temple of Vulcan — in the centre an altar, illuminated by a mysterious light from above Ramfis, the High Priest, and the priests and priest- esses have assembled to bless the expedition. The chant in praise of Ptah is heard from an invisible choir. Rhadames enters and receives the consecrated veil. Ramfis: Mortal, beloved of the gods, to thee Is confided the fate of Egypt. Let the holy sword Tempered by the gods, in thy hand become To tiae enemy, terror — a thunderbolt-death! Rhadames: God, who art leader and arbiter Of every human war, Protect thou and defend The sacred soil of Egypt! Nume, custode e vindice (God, Guardian and Avenger) By Antonio Paoli, Tenor; Perello de Segurola, Bass; and Chorus (In Italian) 88268 12-inch, $3.00 17 88223 {In Italian) 12-inch, $3.00 COPr-T DUPOW EAMES AS AIDA VICTOR BOOK OF THE OPER A— V E R D I ' S A I D A Hamfis then sings the closing invocation, in which Rhadames joins. He is invested with the sacred armor, and as the priestesses perform the mystic dance the curtain slow^ly falls. ACT II SCENE I — A hall in Amneris' apartments The curtain rises, show^ing the Princess and her slaves, w^ho are adorning her for the triumphal festival in honor of Hhadames, just returned with his victorious army. Amneris and the slaves sing the ode to the returned hero. Chi mai fra (His Glory Now Praise) By Maria Capiello, IMezzo-Soprano, and Chorus {In Italian) *55005 12-inch, $1.50 Seeing Aida approaching, the Princess dismisses her slaves and prepares to enjoy her revenge. This scene is expressed in a splendid duet, given here in tw^o records by Mmes. Gadski and Homer, and also by Mmes. Ruszcow^ska and Lavin de Casas, of the La Scala forces. Fu la sorte dell' armi ("Neath the Chances of Battle) By Johanna Gadski, Soprano, and Louise Homer, Contralto (/n Italian) 89024 12-inch, $4.O0 By Elena Ruszco'svska, Soprano, and Bianca Lavin de Casas, Ivlezzo-Soprano (In Italian] 88262 12-inch, 3.00 Alia pompa, che s'appreste (In the Pageant Now Preparing) By Johanna Gadski, Soprano, and Louise Homer, Contralto (In Italian) 89025 12-inch, $4-00 Ebben qual nuovo fremito (W^hat New Alarm?) By Elena Ruszcow^ska, Soprano, and Bianca Lavin de Casas, ^ezzo-Soprano (In Italian) 88263 12-inch, $3.00 Amneris pretends to sympathize w^ith the afflicted girl, saying : Amneris: The fate of arms was deadly to thy people. Poor iVidal The grief Whicli weighs down thy heart I share with thee. I am thy friend; Time will heal the anguish of thy heart, And more than time — a powerful god-love. A I DA : Oh! love immortal I oh! joy and sorrow. Sweetest delirium, dark doubts and woes! As in thy trials new life I borrow, A heav'n of rapture thy smiles disclose. Amneris inside) : This death-like pallor, this strong emotion, Plainly reveal the fever of love! (To Aida): Among the braves who fought so well. Lost in their country's service, lias someone a tender sorrow haply waken'd in your heart ? Aida; What say'st thou? HOTO BERT HOMER AS AMNERIS 1"I MISHKfH nALMORES AS RITADAMES ' Doubk^FaceJ Record—For title o/ opposite Side see DOUBLE-FACED AIDA RECORDS, page 26. 19 VICTOR BOOK OF THE OPER A— V E R D I ' S A I D A Amneris: Amneris: Tremble I I read thy secret. Tremble, vile minion! be ye heartbroken, Thou lov'st him I lie no longer! Warrant of death this love shall betoken! I love hini too — dost thou hear? In the pomj) which approaches. I am thy rival, daughter of kings Egyptian. With me, U slave, thou shall assist; Thou prostrate in the dust — Aiha: 1 '- Tint thou. O King, thou powerful lord, [■ate was hovtde lo imr arniH; Tie merciful to these men. \ am wa<- the cnuraue of the brave! To-day we are stricken by Fate At my feet, m the dust extended. To-morrow Fate may smile thee! The people and prisoners appeal to the King for mercy, while the priests demand that the captives be put to death. Rhadames, seeing the hesitation of the King, reminds him of his vow, and demands life and liberty for the captured Ethiopians. The King yields, stipulating only that Aida and her father be held as hostages, and then announces that Rhadames shall have the hand of Amneris as his reward. The magnificent finale then follows, Aida and Rhadames gazing at each other in despair, Amneris glorying in her triumph, and Amonasro swearing secret vengeance against his captors. The curtain falls amid general rejoicing. * Doubk-Faced Record — For title of opposite si Je see DOUBLE-FACED AIDA RECORDS, pafsc 26, 20 VICTOR BOOK OF THE OPER A— V E R D I ' S A I D A THE GREAT CONSECRATION SCENE ACT III SCENE I — A moonlight night on the banks of the Nile — the Temple of his can be seen, half concealed b;^ palm trees As the curtain rises on this beautiful scene, a chorus within the Temple is heard in a chant oi praise. O tu che sci d'Osiride (Oh, Thou Who Art Osiris) By Maria Cappiello, Soprano, and Chorus [In Italian) =^=55005 12-inch, $1.50 Chorus (in the temple) : O Thou who art of Osiri; Mother immortal and spouse. Goddess who awakens the beatings In tlie heart of human creatures, Come ]")iteous to our help. Mother of eternal love. Amneris: I will pray that RhadaTius Tiiay give me His whole heart — as mine to him Is consecrated forever! A boat approaches, bearing Rhadames and Amneris, who go into the Temple. Aida, veiled, cautiously enters, hoping that Rhadames will come thither, and sings a tender and despairing song of that lovely land w^hich she may never see again. O patria mia (My Native Land) By Johanna Gadski, Soprano [In Italian) 88042 12-inch, $3.00 By Emmy Destinn {In German) 92058 12-inch, 3.00 By Celestina Boninsegna {Italian) 88239 12-inch. 3.00 u^stinn By Lucy Isabelle Marsh {Italian) 60098 10-inch, .75 * Double-FaceJ Record— For title of opposite side see DOUBLE-FACED AIDA RECORDS, page 21 26. VICTOR BOOK OF THE OPER A— V E R D I ' S A I D A O native land, no more to thee sliall I return O skies of tendc^r blue. O soft airs blowing, Where calm and pL-acefuI my dawn of lift. pass'd o'er, O hills of verdure, O perfuni'd waters flowing U hunu' beloved, I ne'er shall seu thee morel O fresh and fragrant vales, O quiet dwelling, Promise of happy days of love that bore. Now hope is banish'd. love and }'onder dream dispelline, O home beloved, I ne'er shall see thee inore! Three fine renditions of this air, one of the most effective in the opera, are given here by three celebrated prima donnas, all of v^'hom have been seen in America in this role. Aida is about to depart when she is astonished to see her father. Amonasro re- proaches his daughter with her love for his enemy Rhadames, telling her with significant emphasis that she may behold her native land again if she wishes. He tells her that his people have risen again, and proposes that she shall influence Rhadames to betray the plans of his army in the new campaign. She at first refuses, but he bids her be true to her country, and pictures the sufferings of her people. Ciel ! Mio Padre ! (Heaven ! My Father!) By Johanna Gadski, Soprano, and Pasquale Amato, Bari- tone {In Italian) 89067 12-inch, $4.00 Riyedrai le foreste imbalsamate (Thou Shalt See Again the Balmy Forests) \iDv -^y ^'^"^ ^"*"°'^*''^ ='"<1 <^'"seppe Ma^gi {Italian) 88267 12-inch, $3.00 Ilt'avunl Mv Nn SCOTl-r 7N AIDA father! -Vmonaskm : (irave altairs lead nic to tliee, Aida. Nothing escapes my sight: thou art destroying Thyself with love for Rliadanies: lie loves thee And here thou waitest him. The daughter of the Pharoahs is tin' ri\-al — An infamous race, abhorred and f.a'tal to us' Aida : And I am in her ]Jower! I. the daufihter of Amonasro. Amonasko : In her jiower! No! ]f thou wishest. This powerful rival thou shalt defeat. And country, and throne, and love' all shall he thine. Thou shalt see attain the halnr,- foiesl^, The fresh valleys, our temjiles ",)f guld! AroA iwilli Irnusf'ort) : I shall see again the balmy forests, (.)ur valle\s, our temples of gold! .\monasro; Thou rememherest that th^ meieiless Egyptian Profaned our houses, temples and altars- Mothers, old men and children he slew A 1 D.\ : .\h! well I remember those unhapjiy days I remember the grief that mv heart suffered Amonasro : Then delay not. In arms now is roused Our people — everytlu'ng is ready — X'lctory we shall have. It only remains for me to know What path the encniv will follow Aida; Who will be able to discover it' Whoever? -Amonasro: Thyself! Aida : I? -Vmunasro : Rhadames will come here soon— he loves thee— lie leads the Egyptians. Host thou undersland? Aida: Horror! What dost thou counsel Neve]- ! No, Su, dunque ! (Up, Then !) By Johanna Gadski and Pasquale Amato (Italian) 89068 12-inch. $4 00 By Elena Ruszcowska and Ernesto Badini illalian) 88265 12-inch 3 00 With growing excitement he describes the consequences of her refusal, Amonasro (lei//: saianc roue): , Up, then! ' A'";-' Rise, Egyptian legions! '^"' father! With fire destroy our cities — -\monasro (rc^nlsinij her)- Spread terror, carnage and death. My daughter To your fury there is no longer check! r)ost thou call thyself? VICTOR BOOK OF THE OPER A— V E R D I ' S A I D A AiDA ( terrified and suppliant) : Pity: Amonasro: Rivers of Llood pour On the cities of the \-anquished — Seeth thou? From the black gulfs The dead are raised — To thee they point and cry; For tliec the country dies I AiDA : Pity: Amonasro; A horrible ghost Among the shadows to us approaches- Treinlile: the tieshless arms Over thy head it raised — Amonasro : No; thou art not guilty — It was the will of fate. Come; beyond the Nile await It is thy mother — recognize her — She curses thee: AiDA {ill the greatest terror) : Ah, no! Father! Amonasro (repulsing her) : Go, unworthy one: Thou'rt not my offspring — Thou art the slave of the Pharaohs! Aida (yielding) : Father, their slave 1 am not — Reproach me not — curse me not; Thy daughter again thou canst call me — Of my country I will be wnrthy: Amonasro : Courage! he conies — there, I shall htar all. {Conceals himself among the palm trees.) Rhadames now enters and tries to embrace her. but she repulses him, saying bitterly : Aida : The rites of another love await thee, Thou spouse of Amneris! He protests that he loves Aida alone, but she bids him prove his affection by fleeing with her. A IDA: Ah! fly with me, and leave behind These deserts bare and blighted; Some country, new anil fresli to find, Where we may love united. There, 'mid virtjin forest groves. By fair sweet flow'rs scented, In quiet joy contented, the world will we forget! He finally consents, and reveals to her that the army w^ill go by the pass of Napata. Amonasro, w^ho has overheard, now^ enters, and Hhadames is horrified at the know^ledge that he has betrayed the army to the King of Ethiopia. His scruples are finally overcome, Amonasro saying; The brave men devoted to us; There the vows of thy heart Shall be crowned with love. Amneris, coming from the temple, pauses behind a pillar and overhears the final w^ords. Mad w^ith jealousy, she rushes in and denounces the guilty trio. Aida and Amonasro escape but Rhadames is taken in custody as a traitor. ACT IV SCENE I — A room in the Palace — on one side a door leading to Rhadames' prison cell The curtain rises, disclosing Amneris in an attitude of despair. She is torn between her love for Rhadames and a desire for vengeance, and finally orders the prisoner brought before her. Awni^k: My ( bitterly innsing) : al has escaped me- And Rhadames awaits from the priests The ]"junishment of a traitor. Traitor he is not, though he revealed The high secret of war. fie wished to fly — To fly with her — traitors all ! To death, to death! Oh, what am T saying? I love him — Oh! if he could love me! I would save him — but how? Let me try. Guards, Rhadames comes. i A TRAITOR 23 VICTOR BOOK OF THE OPER A— V E R D I * S A I D A Rhadames enters, and the first great duet of the act occurs. Gia i sacerdoti adunnasi (The Priests Assemble) By Louise Homer and Enrico Caruso (In Italian) By Pietracewska and Barrera (In Italian) Aida a me togliesti ( Aida Thou Hast Taken By Louise Homer and Enrico Caruso 89050 88269 12-inch, $4.00 12-inch, 3.00 (In Italian) 89051 12-inch, $4-00 Amneris offers to save his hfe if he will renounce Aida. ing to die rather than be false to his Ethiopian Princess. He scorns her proposal, resolv- ^'\ M N EE 1 S : Renounce her forever And thou shalt live! Rhadames: I cannot do it! Amneris: Wouldst thou die, madman? E.HADAMF.S : I am ready to die. Amneris: Wlio .saves thee. O wretch, From the fate that awaits thee? To fury liast thou changed A love that had no equal. Reven^'e for my tears Heaven will now consummate! Th e ensuing The guards now appear and conduct Rhadames to the judgment room, scene is a highly dramatic and impressive one. Ohime! Morir mi sento ( Ah, me ! Death Approaches D By Lavin de Casas, Mezzo-Soprano ; Rizzo Sant' Elia, Bass; and Chorus (In Italian) 882 70 12-inch, $3.00 Amneris, seeing Rhadames taken out by the Priests, repents her harshness and sinks down desolate on a seat. Ah, let me not behold those white robed _phantomsI {Loz'crs her face zvitli her hands. The I'oicc of Ramfis can be heard within.) Ramfis: Rhadames, Rhadames : thou hast betrayed Of thy country the secrets to aid the focTnin: Priests: Defend thyself! Amneris (jaUi)ig on a citair. overcome): Ah me! Death's hand approaches! who now will save him? lie is now in their pnuei. His sentence I have sealed — Ob, how I curse thee, Jealousy, vile monster, thou who hast doomed him To death, and me to everlasting: sorrow! {Turns mid sees Ramfis and the Priests, zvho cross the stage and enter the subterranean Ramfis: holl.) Rhadames, Rhadames: and thou wast absent What see I? Behold of death From the camp the very day before the The ministers fatal, his merciless judges. combat! Priests: Defend thyself! Rami- IS : Rhadames, Rhadames: and thou hast played The part of a traitor to King, and to honor! PRIICSTS: Defend thyselfl Ramfis: He is silent. jglljj^ 'iii''-'''^ '^^^'^■H 1 H^l 1 1 HpS^^nt i'lMj^^^^ ^^I^I^^biiIk B l^w 1 l^ll ^^^^H H 2 ii Alt. ■ Traito vile : THE PESPATK OF A M N EH [ S ACT IV Ram I 1,S : Rlinrlanies, wc lliv fale have ^(.■citlcd. Of all traitors tin- fate shall lie thine — 'Neath the allar wliosc d.A thou'st deriiled Thou a sejnilehre li\-im; shall lind. Amnj:ris: Find a sepulehre living! Hated wretches I Ever vengeful, blood-thirsty and blind! 24 VICTOR BOOK OF THE OPER A— V E R D I ' S A I D A Sacerdoti, compiste un delitto ! (Priests, a Crime You Have Enacted !) By Lavin de Casas, Mezzo-Soprano ; F. Rizzi, Bass; and Chorus {In Italian) 88323 12-inch, $3.00 The priests now enter from the crypt and pass across the hall. The wretched woman denounces them. Priests of Heaven, a crime you have enacted, Tigers even in bloodshed exulting, Earthly justice and Heaven's you are insulting, On the guiltless your sentence will fall! Priests : (Dcf^artiiuj slo'vly.) None can his doom recall I A M N EK 1 s : Impious priesthood, curses light on ye all I On your heads Heaven's vengeance will fall 1 (Exit wildly.) This is one of the most impressive records of the Aida series. The despair of the wretched jimneris, and the solemn reply of the unbending priests are w^onderfully expressed by Verdi. SCENE II — Interior of the Temple of Vulcan — below a Subterranean Apartment "The work finishes in serenity and peace, and such terminations are the most beautiful. Above, the temple full of light, where the ceremonies continue immutable in the sanctuary of the indifferent gods; below, two human beings dying in each other's arms. Their song of love and death is among the most beautiful of all music. " — Camille Bellaigue. When we hear the expression "the duet from Aida," our thoughts always instinctively turn to this number at the close of the w^ork. There are other duets in the opera, some of them fine numbers, but this is the great one — perhaps the most intensely dramatic and melodiously beautiful of all Verdi's writings. La fatal pietra (The Fatal Stone) By Johanna Gadski, Soprano, and Enrico Caruso, Tenor {In Italian) 89028 12-inch, $4-00 By Nicola Zerola, Tenor (Part of scene—'* To die, so pure and lovely!") [In Italian) 74225 12-inch, 1.50 This last scene is a highly picturesque one. Above w^e see the splendid Temple of Ptah, where priests and priestesses are chanting their strange songs. Belov^, a dark vault, in whose depths Flhadames is aw^aiting with patience a slow^ death by starvation. Rhadames (despairingly) : The fatal stone upon me now is closing! Now has the tomb engull'd me I The light of day no more shall I see! No more behold Aida! Aida, where art thou now? Whate'er befall me, may'st thou be happy! Ne'er may my frightful doom be trild to thine ear I {Then suddenly in flic shadozcs he sees a form- — it is Aida, zvho has secreted herself in the crypt that she may die with her lover.) What moan was that? Is't a phantom, or vision dread? ^ No! 'tis a human being! Heaven! Aida I Aida: Yes I Rhadames (in great desperation): Thou, with me here bui'iedl Aida; My heart foreboded this, thy dreadful sen- tence, And to this tomb that shuts on thee its portal, I crept, unseen by mortal. Here, free from all. Where none can more behold us, Clasp'd in thy arms. lD\'e. I resolved to perish! Rhadames: To die I so pure and lovely! To die! thyself thus dooming, In all thy beauty blooming. Fade thus forever! Thou, whom the gods alone for love created; Yet to destrov thee, was my love then fated! Thou shalt not die! so much I love thee, Thou art too lovely! 25 CAMPANINI AS RHADAMES VICTOR BOOK OF THE OPER A— V E R D I ' S A I D A AlDA itransl'ortci.l) : Sce'st thou where death, in angel guise, With heavenly radiance beaming, Would waft us to eternal joys, On golden wings above I I see heaven's gales are open wide Where tears are never streaming. Where only bliss and joy reside. The bliss and joy of never fading, endless love '. The lovers sing their plaintive farewell to earth in hauntingly lovely strains, while in strange contrast the heathen chanting continues above. O terra addio (FareAvell, Oh, Earth) By Johanna Gadski, Soprano, and Enrico Caruso, Tenor i/n Italian I 89029 12-inch, $4-00 AlDA AND RtlADAMES: Farewell, O earth, Se^. , brightly <.ijxii^ fnr u>. Farewell, thou dark vale of sorrow, Hrightly opens now the sky, and endless mor- Erief dream of joy, row, Condenmed tu end in woe! There, all unshadowM, shall eternal glow! ( Curtain] DOUBLE-FACED AND MISCELLANEOUS AlDA RECORDS 55005 12-inch. $1.50 Chi mai fra {His Glory Now Praise) By Maria Cappiello. Mezzo-Soprano, and Chorus In Italian) O tu che sei d'Osiride (Oh. Thou Who Art Osirisj By Maria Cappiello, Mezzo-Soprano, and Chorus ( In Italian) Celeste Aida (Heavenly Aida) Trombone By Arthur Pryorl„-. II Guarany Overture By Pryor's Bandf^^*^^^ 12-inch, 1.25 The Fatal Stone Cornel- Trombone I By Arthur Pryor.Emil Keneke and Pryor's Band [35 150 12-inch. Serenade ( Titl) 'Cello-Flute By Louis Heine and Darius Lyons] )Aida Fantasia I Cascades of Roses Walt. (Aida Selection I Aitila — Grand Trio Aida Selection (Finale. Act II) /Aida — ^Grand March ) Rondo Capriccioso (Mendelssohn) IMarcha Triunfal (Triumphal March) | By Garde Republicaine Band L ^ .^^ ,„ . . Tosca—Tosca divina I (In Italian) }62409 10-inch, By Gustavo Berl-Res^y, Baritone] 1.25 By Police Band of Mexicol ^ - ^ , „ , By Police Band of Mexicof^^^"^^ 12-inch. 1.25 By Pryor's Band! „^ - „^ ,^ . , By Kryl's Bohemian Bandf^^^^^ 12-mch. 1.25 By Pryor's Orchestra 31359 12-inch, 1.00 Vessel lessen lla's Italian Bandl „,,, , ,, • , sella 's Italian Bandr^^^^ 12-mch, 1.25 .75 FTNAI, SCENE OF AIDA 26 ( Italian) ANDREA CHENIER (Ahn-dree 'oh Sheh neay) OPERA IN FOUR ACTS Libretto by Luigi lllica ; music by Umberto Giordano. First produced at La Scala, Milan, March 28, 1896. First performance in Berlin m 1898; m London, April 2, 1903, by the Carl Rosa Company, in English. Given in Italian some years afterward, with Starkosch, de Cisneros, Zenatello and Sammarco. First American production at the Academy of Music, November 13, 1896, with Durot, Ughetto and Bonaplata-Bau. Revived in 1908 by Oscar Hammerstein's Manhattan Opera Company, the cast including Mme. Eva Campanini, Bassi, Sammarco, Zeppili and de Cisneros. Characters ANDREA CHENIER Tenor CHARLES Gerard Baritone COUNTESS DE COIGNY Soprano Madeleine, her daughter Soprano BERSI, her maid Mezzo-Soprano Rougher Bass MATHIEU Baritone MADELON Soprano FLEVILLE Tenor The Abbe Tenor Schmidt, jailer at St. Lazare Bass A SPY GIORDANO Ladies, Gentlemen. Servants, Pages, Peasants, Republican Soldiers, Masqueraders, Judges, Jurymen, Prisoners, etc. Time and Place : Paris ; during the French Revolution. The story tells of Andrea Chenier, a patriot, poet and dreamer, \vho was born in Con- stantinople, coming to Paris for his education. The French Revolution w^as in full sw^ing, and being a worshipper of liberty and a hater of monarchs, he took, vigorous sides, and w^as arrested, imprisoned and finally guillotined on July 25, 1794. lllica's plot, however, is almost wholly pure fiction. ACT I SCENE— Ha/I in the Castle of Coigny As the curtain rises the servants of the castle are preparing for a ball, and among them is Gerard, afterward to become the leader of the Revolution. As his old father enters, bent under the weight of a load of furniture, the young man wistfully sings the Son sessant' anni : Son sessant' anni (My Aged Father) By Ernesto Badini, Baritone (In Italian) 45012 10-inch, $1.00 The guests arrive, including Andrea Chenier, the young poet, and during the festivities Madeleine coquettishly asks Chenier to improvise upon the theme of love. VICTOR BOOK OF THE OPERA — ANDREA CHENIER Improvviso — Un di all' azzurro spazio (Once O'er the Azure Fields) By Enrico Caruso, Tenor (In Italian) 88060 12-inch, $3.00 By Nicola Zerola, Tenor (In Italian) 74216 12-inch. 1.50 In this air Chenier sharply criticises the aristocracy, and speaks of the pride of the rich and its effect upon the poor. The guests are displeased at his lack of taste, and later, "when Gerard appears with a crowd of ragged men and women, Chenier supports him and goes with the party when it is ordered from the castle. ACT II SCENE — A Cafe on the Seine, Paris. Five years later Bersi and a spy are dining at one of the tables, while at another table nearby is Andrea. Roucher enters and tells the young man that he is in danger and is being watched, giving him a pass which will enable him to escape in case of necessity. Andrea, however, tells Roucher that he has a rendezvous that evening with an unknown lady, and the latter begs him not to go. Bersi goes into the cafe with the spy. but presently returning, mingles with the crowd and speaks to Chenier, begging him to await a lady whom she calls Speranza. As darkness falls Madeleine appears and is recognized by both Chenier and the spy, who is concealed and watching from a distance. He hurries away to report to Gerard, and the young girl begs Chenier to save her from Gerard. They avow their love and are about to fly together when Gerard intercepts them and tries to drag Madeleine away, but Roucher interferes and escorts the girl to her home, while Chenier and Gerard draw their swords. Gerard is wounded, and warns Chenier that he is proscribed and begs him to save Madeleine. Chenier flees and the mob surrounds the wounded Gerard, while he declares his assailant is unknown to him. ACT III SCENE— ^( the Tribunal At a meeting of the people at which Gerard is spokesman, a spy enters and tells him that Chenier has been arrested and that Madeleine is not far away. The spy urges him to denounce Chenier, and after much hesitation he consents to draw up the necessary papers. He signs them and hands them to the spy. when Madeleine appears and offers herself in exchange for Andrea's life. Gerard is touched by the young girl's grief and promises to do what he can. Andrea is brought before the judges and jury and denounced as a traitor, whereupon he speaks with deep feeling and defends himself with brilliancy. Si fui soldato (I W^as a Soldier) By Egidio Cunego, Tenor (In Italian) 45012 10-inch. $1.00 Gerard, regretting that he has signed the papers which condemned Andrea, rushes forward and testifies for him, but the people demand more victims, insisting upon the death sentence, and the prisoner is led a\vay. ACT IV SCENE— The Prison of St. Lazare Andrea is in his cell, writing verses by the light of a lamp. Madeleine succeeds in getting into the prison by impersonating a recently pardoned prisoner, and by bribing his jailer. Gerard conducts her to Andrea and then goes for a last appeal to Robespierre The lovers chng to each other in a last embrace, and at dawn, when the death wagon comes for Andrea, Madeleine goes to the guillotine to die with him. DOUBLE-FACED ANDREA CHENIER RECORDS iSon sessant' anni (My Aged Father) By Ernesto Badini, \ Baritone (/„ Italian) Si fui soldato (I Was a Soldier) By Egidio Cunego. Tenor f'*^^^^ 10-inch. $1.00 {In Italian)] 28 (Italian) IL BARBIERE DE SIVIGLIA {Eel Bahr-beay' -reh dec See-veeC -yah) BARBER OF SEVILLE COMIC OPERA IN TWO ACTS Text by Sterbini, a Roman poet, founded on the celebrated trilogy of Beaumarchais. Music by Rossini. First presented at the Argentina Theatre in Rome, February 5, 1816. First London production March 10, 1818. First New York production November 29, 1825. The opera was at first called "Almaviva, or the Useless Precaution," to distinguish it from Paisiello's " Barber of Seville." Cast Count almaviva {Al-mah-oee -oah) Tenor BARTOLO, (Bah/ -to-loiv) physician Bass ROSLNA, his w^ard Soprano BASILIO, ( Bah-zecl-yob) music master Bass MARCELLINE (Mar-chel-lee'-neh) Soprano Figaro {Fee -gah-row) Baritone FlORELLO, servant to the Count Tenor A Notary, Chorus of Musicians, Chorus of Soldiers Scene and Period : Seville, the seventeenth century. Rossini's opera is a marvel of rapid composition, having been composed in about fifteen days! This seems almost incredible, but the fact is vv^ell authenticated. The composer had agreed to write two operas for the Roman carnival of 1816, the first of which was produced December 26, 1815, and on that day he was told that the second would be required on Jan- uary 20, 1816. He agreed to have it completed, although he did not even know what the subject was! The libretto w^as given to him by Sterbini in sections, and he w^rote the music as fast as the verses were furnished. While the opera did not achieve an instantaneous suc- cess, it gradually found favor w^ith opera-lovers on account of its brightness and the manner in which the humor of its action is reflected in the music. The plot of Barber of Seville is very simple. The Count Almaviva loves Rosina, the ward of Or. Bartolo, a crusty old bachelor v/ho secretly wishes to wed her himself. Almaviva per- suades the village barber, Figaro, to arrange a meeting for him, and gains entrance to the house disguised as a dragoon, but is arrested by the guardian. Not discouraged, he re- turns, pretending to be a sub- stitute for Hasina's music teacher, who, he says, is ill. The appearance of the real Don Basilio spoils the plan, and the Count retreats for the second time, having, however, arranged a plan for elopement. Bartolo finally arouses Rosina's jealousy by pretend- ing that the Count loves another, and she promises to forget him and marry her guardian. When the time for the elopement arrives she meets the Count, intending to reproach him, but he con- vinces her of the base plot setting of act i, scene i, at la scala of Bartolo, and the lovers are wedded by a notary, just as Bartolo arrives with officers to arrest the Count. 29 VICTOR BOOK OF THE OPERA -BARBER OF SEVILLE Overture to Barber of Seville By La Scala Orchestra 68010 12-inch, $1.25 ACT I SCENE 1 — A Sireel in Seville. Day is Breaking The Count, accompaniea by his servant Fiorello and several musicians, enters to serenade the beautiful Rosina. Accompanied by the mandoUns, he sings his serenade, Ecco ridente, considered one of the most beautiful numbers in the opera. Ecco ridente (Dawn, "With Her Rosy Mantle) By Fernando de Lucia, Tenor [Piano ace.) {In Italian) 76000 12-inch, $2.00 Count; Lo 1 smilini; in the Orient sky, Morn m her Ijeauty breaking. Canst thou, my love, inactive lie— My life, art thou not waking? .'Vrise, m\' heart's own tixasure, All that my sonl holds dear; Oh I turn my grief to pleasure 1 .-\uake, my love, appear! But. hushl — nietliinks 1 view that face, ^\nd all my doubts are vanished; Thine eyes dilluse soft pity's grace. And all my fears are banished. Oh, rapturous moment of delight! AH other blisses shaming; My soul's content, so jmre and bright, ( tn earth no equal elaimingl Even such a lovely serenade as this fails to bring a response from the window, but the Count still lingers, concealing himself in the shadow as he sees Figaro, the jack-of-all-trades of the village and general factotum in the house of Barlolo. Figaro unslings his guitar and sings that gayest and most difficult of all airs, the joy or despair of baritones the world over, which has been recorded for the Victor by three famous baritones. Largo al 12-inch, $3.00 12-inch, 3.00 12-inch, 3.00 CAM TANARl factotum (Room for the Factotum) By Pasquale Amato, Baritone (In Italian) 88329 By Emilio de Gogorza, Baritone (In Italian) 88181 By Titta Ruffo, Baritone (In Italian) 88391 Figaro is thorqughly satisfied with himself, and gives a long list of his numerous accomplishments, of which the following is a sample: FlCAEO: Ronm for Ihe city's factolom here La, la, la, la. la, la. I must be off to my slin|,, f,,r tile dawn is near. La, la. la. la, la. la. What a merry life, what jileasurc gay .\wan- a barber of (|uality. Ah, biave Ficaro; bravo, bravis-imo. brave La, la, la, la, la, la. Of men, the hai>piest, sure, art thru, bravo La, la. la, ia, la. la, etc. Ob what a happy I, te. solilu.pnzes Ihe gav barber, ■■wha, pleasure awaits a barur m quality :—( lb. bravo. Figaro, bravo, bravissimi,: thou art sun be hapine.t nt men, ready at all h,.urs of the night, and, by dav noir";;- f'" "r"l ■■"'; '"""""■, 'Sy''"' '''•"'"'"- ---Mon of-deHghl;- wha; nobler hlc h.i ,i b.irlier llian nunel Razors, combs, lancets, scissors— behold them all al m>' comniand; besides the snug perquisites of the business, with gay damsels and cavaliers. All call me! all want me I— dames and maidens— ."^r'^e,- '""iT-'- H -'i'ui";V-' S''", .»"'— '"y '"^ard; shouts another— bleed 1.1 "",^- !"^ billejdou.x whispers that. Figaro, Figaro! heavens, uiiat d crowd. !• ie,aro. l-igarol heavens, what a tumult: One at a time tor mercy sake. Figaro here; Ficraro there; Figaro above: Figaro below.' of ^he t/' ' ni '1'""/'""i.'' ^' l>?htning; in a word— I am the factotum luent w? i fT,"" ''"''Pf ''^"'i ''"' ""'■= fatigue-abundant amuse- ment— wuh a pocket that can always boast a doubloon, the noble fruit of iny reputation. So it is; without Figaro there's not a girl in" Seville will marry; to me the little widows have recourse for a husband; 1 under excuse of my comb by day, and under favor of my guitar by night, endeavor to please all in au honest way. Oh, «lial ;i life, what a lifel" 30 VICTOR BOOK OF THE OPERA BARBER OF SEVILLE niE niSr.UISEll COUNT AND BARTOLO Three fine records of this great air are given here. Ruffo, in his rendition, proves himself pos- sessed of an admirable sense of humor, and this, with his powerful and flexible voice, enables him to attack this difficult solo in the true op6ra- bouffe vein. The result is as fine a performance of the Largo as one would wish to hear. The ex- treme difficulties are made a vehicle for the display of the baritone's ample vocal resources, which sweep everything before them ; he is indeed a little free wiih the text, and sings snatches of the accompaniment out of sheer bravado, while bits of comic characterization peep out at every avail- able opportunity. Amato's rendition is a fine ex- ample of how the music of this air should be sung, and is a veritable triumph for the singer. Signor de Gogorza's version differs from the others in many respects. It is one of the finest records he has made, for the Victor, and exhibits his fine voice and wonderful execution to per- fection. The Count now accosts Figaro, asking him to arrange a meeting w^ith Rosina, telling him that his rank must not be knov/n and that he has assumed the name of Lindor. II mio nome ? (My "Name ?) By Fernando de Lucia, Tenor [Piano ace.) (In Italian) 66000 10-inch, $1.50 Figaro consents to become his ally. Rosina and her guardian come to the balcony, and Rosina, perceiving the Count, manages to drop a note, w^hich he secures. Bartolo leaves the house and orders that no one be admitted. Figaro nov^ says that he is expecting a military friend to arrive in the village, and suggests the Count dress himself as this soldier and thus gain admittance to the house. He agrees, and retires to assume the disguise. SCENE II — 'A Room in Barlolo^s House Rosina is discovered holding in her hand a letter from the Count. She is agitated and expresses her feelings in her celebrated entrance song. Una voce poco fa (A Little Voice I Hear) By Marcella Sembrich, Soprano I In Italian) 8809 7 By Luisa Tetraszini, Soprano {In Italian) 88301 By Maria Galvany, Soprano (In Italian) 87060 By Giuseppina Huguet, Soprano {In Italian) ='=68144 The number is in the form to which most Italian compos- ers of the period adhered — a slow opening section (here accompanied by occasional chords for the orchestra) succeeded by a quicker movement culminating in a coda which presents many opportunities for brilliant vocal display. Musically the aria is full of charm, and is deservedly popular with those singers w^hose method enables them to deliver it with the req- uisite lightness and bravura. KOSINA 12-inch, *3.00 12-inch, 3.00 10-inch, 2.00 12-inch, 1.25 MELBA AS ROSINA A little voice I huard jii^t now; Oh, it has thrill'd my very heart! I feel that I am wounded sore : And Lindor 'twas who imri'd the Yes, Lindor, dearest, shall he mine 1 I've irworn it, and we'll .levev part. I\Iy yuardian bure will ne'er consent; But I must sharpen ail my wit: Content at last, he will relent, dart. And we, oh. joy I be wedded yet. Ves, Lindor I have sworn to love I And, loving, we'll our cares forget. '' Double-Faced Record — For title of opposite side see double-faced list on page 34. VICTOR BOOK OF THE OPERA-BARBER OF SEVILLE A bewildering array of artists have essayed this charming song, and Victor audiences can choose whether they will have it sung by an Italian, Polish or Spanish prima donna. Rosina runs out as her guardian and Don Basilio come m. Bartolo is telling Basilio that he wishes to marry his ward, either by love or force. Basilio promises to help him, and says that the Count is trying to make Rosina s acquaintance. They decide to invent some story that will disgrace him. "A calumny!" says Basilio. Bartolo asks what that is. and Basilio, in a celebrated air gives his famous description, which is a model of its kind. La calunnia (Slander's W^hisper) By Marcel Journet, Bass [In Italian) 74104 12-inch. 51.50 Basilio; * Hi I calumny is like the sigh (Jf gentlest zejihyrs breathing by; How softly sweet along the ground, Its first shrill voice is heard around. Then passing on from tongue to tongue, It gains new strength, it sweeps along In giddier whirl from place to place, And gains fresh vigor in its race; Till, like the sounds of tempests deep. That thro' the woods in murmurs sweep And howl amid their caverns drear. It shakes the trembling soul with fear. Thus calumny, a simple breath. Engenders ruin, wreck and death; And sinks the wretched man forlorn, Beneath the lash of slander torn, The victim of the public scorn! {TItcy go out.) SEMBKICI-I AS KDSINA Rosina and Figaro return, and the barber tells her that her guardian is planning to marry her. She laughs at the idea, and then asks Figaro who the young man was she observed that morning. Figaro tells her his name is Lindor, and that he is madly in love with a certain young lady, whose name is Rosina. Dunque io son (W^hat ! I ?) By Tvlaria Galvany. Soprano, and Titta Ruffe, Baritone (/n Italian) 92501 12-inch, $4.00 Rosina: What! 1? or dost thou mock me? .\m I. then, the happy Ijeing? {But I all tlie scheme foreseeing, Knew it, sir, before yourself) ; Figaro : Yes, Lindor loves you. ladv; Oft he sighs for his Rosina, (As a fox she cunning seems, .Ah, by my faith, she ^cl-s thro' all). Rosina : Still one word, sir — to my Lindor How shall I contrive to s]*eak? FiGAKO : Poor man. he but awaits some sign Of your affection and as'^enl; A little note, a sinrle line, And he himself will snon present. To this, what say you? Rosina: I do not know. FiGARr,: Take courage, pray you, Rosina: I couUl not so— Figaro: A few lines merely. Rosina: I blush to write. Figaro: At what? ^^'l^y really — may I indite? Haste, haste. "\'nur Inver i|uick invite. (Goi)nj to tJiC desk.) Rosina : A letter! Oh. here it is. (Calli)i(i liiiii. she iakcs a iiolc fyo)n tier hosoiu, ivhiili she ARI0LO: Ay, ay! I understand you. Well, wcH, what matters it? Go; and may Heaven bless you I Figaro: Bravo, bravf Let me emb , Doctor ! ace you! <.'n, now najijiy we are! 'OUNT : Oh, propitious love! SAMMARCO AS FlUARiJ I'lGARO : Young love, triumjihant smiling, All harsher, thoughts exiling, All quarrels reconciling, Now waves his torch on high! {Curtain) DOUBLE-FACED BARBER OF SEVILLE RECORDS /Barber of Seville Selection By Pryor's Band) ,^ , ^^ ,.- . . . 1 Prophete Fantasie By Prwr's Bandj ^ 12-inch, $1.25 jOyerture By La Scala Orchestral ,„., ^ I Don PasqualeSinfonia (Donizetti) By La Scala Orchestrar^^^^ /Manca un foglio (Here's a Leaf Out) By A. Rossi, Bass) ,o, . . . , lUna voce poco fa By Giuseppina Huguet, Soprano^^^^^ 12-inch, 1.25 |Guarda Don Bartolo (Look at Bartolo) By Huguet, 1 I r-"^' ^^^ ^' Pi"i-^o^'si' andBadini (/n //aAan) 631 71 10-inch, I Fra T>iaoolo—Agnese la Zietella By Pietro Lara (In Italian)\ /II vecchietto cerca mo^lie By Emma Zaccaria {In Italian) \Pace e gioia By A. Pini-Corsi and Perea {In Italian) i 12-inch, 1.25 .75 62105 10-inch, .75 34 (English) (Bohemian) BARTERED BRIDE PROD ANA NEVESTA COMIC OPERA IN THREE ACTS Libretto by Sabina. Music by Friedrich Smetana. First production, Prague, 1866. First London production, Drury Lane, 1895. First American production February 17, 191 \. Characters KRUSCHINA, a peasant Baritone KATHINKA, his wife. . Soprano Marie, their daughter. .■ Soprano MiCHA. a land owner Bass AGNE3, his wife Mezzo-Soprano WENZEL, their son Tenor Hans, MICHA'S son by first marriage Tenor FCEZAL, a marriage broker Bass The Bartered Bride was intended by its composers to be typical of Bohemian life and character — to be a national opera, and so it really is. The work illustrates accurately Bohe- mian village life, and is based on a simple story full of mirth and sometimes almost farcical. Marie, daughter of Kruschina, a rich peasant, is betrothed to Hans, her father's servant. Mans and Marie, how^ever, are threatened with separation because the maiden's father has determined she shall marry Wenzel, a half-witted, stuttering lad, who is the son of Kruschina' s old friend, Micha. Kruschina and Kezal endeavor to arrange this marriage, but the girl flatly refuses to give up her old lover. Kezal finally offers Hans three hundred crow^ns if he w^ill renounce Marie. At first the offer is indignantly rejected, but later Hans consents, insisting on a rather strange condition — that these words be inserted in the agreement, " that Marie shall only be married to a son of Micha. " Kezal, although he does not understand the reason for this, gladly agrees, and shortly afterward the paper is signed, the entire village being called in to witness the signature. Mane refuses to believe that her lover has sold her for three hundred crowns, but is compelled to realize the truth when the marriage broker produces Hans' receipt for the money. The young girl meets her ruthless lover, w^ho seems remarkably joyous over the affair, and still declares his love for her. The mystery is not explained until Micha and his wife arrive and recognize Hans to be their long-lost eldest son. So Hans not only wins his bride, but gains 300 crowns, for Kezal has agreed that Marie "shall marry only a son of Micha. As the money remains in the family no one objects save Kezal, who departs in wrath. The famous Overture to Bartered Bride is a work of delightful melody, and has had number- less performances as a concert number. It is delightfully spontaneous and highly interesting, containing parts of the national airs of Bohemia. l°Trj"% » fl Q ; ,• fP . .,^^^"''%^7°''f^o"'^l35l48 12-inch, n.25 \ Madam Butterfly Selection (Puccim) By fryor s Band) 35 (French) LA BOHEME {La Bow-ehm) (English) THE BOHEMIANS OPERA IN FOUR ACTS Text by Giacosa and lUica ; music by Puccini. First produced at the Teatro Reggio, Turin, February I, 1896. In English, as "The Bohemians," at Manchester (Carl Rosa Com- pany), April 22, 1897, and at Covent Garden with the same company, October 2d of the same year. In Italian at Covent Garden, July 1, 1899. First American production, November 28, 1899. Characters Rudolph, a poet Tenor Marcel, a painter Baritone COLLINE, a philosopher Bass SCHAUNARD. a musician Baritone BENOIT an importunate landlord Bass ALCINDORO, a state councilor and follower of Musetta Bass PARPIGNOL Tenor Musetta. a grisette Soprano MlMI. a maker of embroidery Soprano Students, w^ork-girls, citizens, shopkeepers, street venders, soldiers, restaurant waiters, boys, girls, etc. Scene and Period : Paris, about 1630. Puccini's BoKeme is an adaptation of part of Mlirger's La Vie Boheme, which depicts life in the Quariier Latin, or the Students' Quarter, in 1830. It being impossible to w^eave a complete story from Mlirger's novel, the librettists have merely taken four of the principal scenes and several of Mlirger's characters, and have strung them together w^ithout much regard for continuity. The principal characters in Puccini's delightful opera are the inseparable quartet described by Murger, w^ho with equal cheerfulness defy the pangs of hunger and the landlord of their little garret. In the scenes of careless gaiety is interwoven a touch of pathos; and the music is in turn lively and tender, with a haunting sweetness that is most fascinating. Rudolph, a poet; Marcel, a painter; Colline, a philosopher ; and Schaunard, a musician, are four friends "who occupy an attic in the Quariier Latin, where they live and work together. Improvident, reckless and careless, these happy-go-lucky Bohe- mians find a joy in merely living, being full of faith in themselves. ACT I SCENE — A Garret in the Quartier Latin The opening scene show^s the four friends w^ith- out money or provisions, yet happy. Marcel is at work on a painting, "Passage of the Red Sea," and remarks, beginning a duet w^ith Rudolph, that the passage of this supposedly torrid sea seems a very cold affair ! Questo mar rosso (This Red Sea) By Gennaro de Tura, Tenor, and E. Badini, Baritone {In Italian) THE FOUR BOHEMIANS 88233 12-inch, $3.00 37 VICTOR BOOK OF T HE OPERA-PUCCINI'S LA BOHEME Rudolph says that in order to keep them from freez- ing he will sacrifice the bulky manuscript of his tragedy. Marcel holds the landlord at bay until Schaunard arrives with an unexpected store of eatables. Having dined and warmed themselves, Marcel, Colline and Schaunard go out, leaving Rudolph writing. A timid knock at the door reveals the presence of Mimi, a young girl who lives on the floor above. She has come to ask her neighbor for a light for the candle, which has gone out. They enter into conversation, and when Mimi artlessly asks Rudolph what his occupation is, he sings the lovely air usually termed the " Narrative." Racconto di Rodolfo rative) (Rudolph's Nar- 12-in.. 2.00 12-in., 1.50 12-in., 1.50 12-in., 1.50 12-in., 1.50 By Enrico Caruso, Tenor {In Italian) 88002 12-in., $3.00 By Herman Jadlowker, Tenor (In Italian) 76023 By John McCormack, Tenor (In Italian) 74222 By Florencio Constantino, Tenor (In Italian) 74106 By George Hamlin, Tenor CAMPANARi AS MARCKL {In Italian) 74185 By Evan Williams (English) 74129 Caruso has never done anything more perfect in its way than his superb delivery of this number. It is one of his great scenes in the opera, and always arouses the audience to a high pitch of enthusiasm. He has sung it here with a fervor and splendor of voice which holds one spellbound. The tender sympathy of the opening — " Your little hand is cold ; the bold avowal — "1 am a poet"; the glorious beauty of the love motive at the end — all are given with characteristic richness and warmth of style by this admired singer, while the final high note is brilliantly taken. Two entirely different interpretations, though also very fine ones, are given by Mr. Jadlowker and Mr. McCormack, while three other versions— in Italian by Constantino and Hamlin, and in English by Evan Williams — complete a list in which every lover of this beautiful air can find a record to suit his taste and purse. Mi chiamano Mimi (My Name is Mimi) By Nellie Melba, Soprano (//a/ian) 88074 12-in., $3.00 By GeraldineFarrar, Soprano (/(o/) 88413 12-in., 3.00 By Alice Nielsen, Soprano (//a/ran) 74062 12-in., 1.50 Then foUovi'S the charming Mi chiamano Mimi, in which the young girl tells Rudolph of her pitifully simple life ; of how she v/orks all day making artificial flowers, which remind her of the blossoms and green meadows of the country ; of the lonely existence she leads in her chamber up among the housetops. O soave fanciuUa — Duo and Finale, Act I (Thou S'weetest Maiden) By Nellie Melba, Soprano, and Enrico Caruso, Tenor 95200 12-in., $5.00 " Mimi's delicate perfection enchanted the young poet — especially her little hands, which in spite of her menial work,, she managed to keep as white as snow. " — Miirger's La Vie de la Boheme. This lovely duet occurs just after the Mi chiamano Mimi. The young girl having finished her story, Rudolph hears the shouts of his friends in the courtyard below. He opens the window to spe^k to them, letting in a flood of moonlight which siiMBKicri as mimi 38 VICTOR BOOK OF THE OPERA — PUCCINI'S LA BOHEME TAHkAR AS MIMI brightens tKe room. The Bohemians go off singing. As Rudolph turns to Mimi and sees her in the moonUght. he is struck with her beauty, and tells her how entrancing she appears to him. Love awakens in the heart of the lonely girl, and in this beautiful duet she pledges her faith to the handsome stranger w^ho has come into her life. Mme. Melba's singing in this scene is of exquisite beauty, while Caruso's delivery of the passionate phrases of Rudolph is superb. The beautiful motive with which the duet begins is associated throughout the opera v/ith the presence of Mimi, and is employed w^ith touching effect in the death scene in Act 111. Mimi consents to go to the Cafe Momus, where his friends are to dine, and after a tender scene at the door they go out, and the curtain slow^ly falls. ACT II SCENE— ^ Students' Cafi in Paris This act represents the terraces of the Cafe Momus, where the artists are holding a carnival. Puccini has pictured with mas- terly skill the noisy, bustling activity of this scene, and the boisterous merriment of the gay revelers. The Bohemians of Act I are seated at a table with Mimi, w^hen Musetta, an old flame of Marcel's, appears with her latest conquest, a foolish and ancient beau named Alcindoro. Marcel pretends not to see her, but Musetta is determined on a reconciliation, and soon gets rid of her elderly admirer and joins her old friends. The gem of this gay scene is the charming waltz of Musetta, w^hich Mme. Viafora sings here with spirit and delightful abandon. Musetta Waltz By Gina C. Viafora, Soprano (Italian) 64085 lO-inch, $1.00 By Guido Gialdini {Whistling} *16892 10-ioch, .75 Mme. Viafora's light soprano is heard to advantage in this pretty cluck as mtmi waltz, which she sings with fluency and skill. The fun nov/ becomes fast and furious, and Musetta is finally carried off on the shoul- ders of her friends, w^hile the foolish old banker, Alcindoro, is left to pay the bills of the entire party. ACT III SCENE— y4 City Gate of Paris This act begins in the cheerless da'wn of a cold morning at the city gates, the bleakness of the scene being well expressed in Puccini's music. The snow^ falls, w^ork- men come and go. shivering and blowing on their cold fingers. Mimi appears, and asks the officer at the gate if * Double-faced Record— For litl^ of opposite side see DOUBLE-FACED LA BOHEME RECORDS. page42. 39 VICTOR BOOK OF THE OPERA — PUCCINrS LA BOHEME This duet is one opera, and Miss Farrar effective record of it, while the other ren- dition hy La Scala artists is also a very fine one. Mimi tells her friend that she can no longer bear the jealous quarrels with Rudolph, and that they must sep- arate. Marcel, much troubled, goes into the inn to summon Rudolph, but before the latter comes, Mimi secretes her- self, and when he enters she hears him again accuse her of fickleness. Mimi e una civetta (Coldhearted Mimi !) By Laura Mellerio. Soprano : Gennaro de Tura, Tenor ; and Ernesto Ba- dini. Baritone {In Italian) 8822 7 12-inch, $3.00 he w^ill find Marcel, that good and kind-hearted Bohemian painter, now^ sojourning at the inn on the Orleans Road and painting, not landscapes, but tavern signs, in order to keep body and soul together. Marcel enters and is surprised to see Mimi, whom he sup- poses to be in Paris. Noticing that she is melancholy and apparently ill, he kindly ques- tions her and learns her sad story. Mimi, lo son ! (Mimi, Thou Here !) By Geraldine Farrar, So- prano, and Antonio Scotti, Baritone {In Italian) 89016 12-inch, $4.00 By Dora Domar, So- prano, and Ernesto Ba- dini. Baritone 88228 12-inch, 3.00 or the finest numbers in Puccini's and Mr. Scotti have made a strikingly DOtfEfi ST. STUDIOS MARTIN AS RUDOLPH 'HOTO BERI FARRAR ANH SCri TI AS MIMI AND MARCEL ACT iii VICTOR BOOK OF THE O PER A — PUCCINTS LA BOHEME A distressing fit of coughing reveals her presence, and she appears and sings the sad little air which is one of the features of this act. 12-inch, $3.00 3.00 1.00 SAMMAHUn AS MARCEL Addio (Farewell) By Nellie Melba, Soprano (In Italian) 88072 By Geraldine Farrar, Soprano (In Italian) 88406 12-inch, By Alma Gluck, Soprano {In Italian) 64225 10- inch. Most pathetically does the poor girl's " Farewell, may you be happy " come from her simple heart, and she turns to go. Rudolph protests, some- thing of his old affection having returned at the sight of her pale cheeks. Musetta now enters and is accused by Marcel of fiirting. A furious quarrel follows, which contrasts strongly with the tender passages between M(m( and Rudolph as the lovers are partially reconciled. Quartet, "Addio, dolce svegliare" (Fare^vell, S^veet Love) By Geraldine Farrar, Soprano; Gina C. Viafora, Soprano ; Enrico Caruso, Tenor; and Antonio Scotti, Baritone (In Italian) 96002 12-inch, $6.00 By Dora Domar, Soprano; Annita Santoro, Soprano; Gino Gio- vannelli. Tenor; and Ernesto Badini, Baritone (In Italian) 69048 12-inch, 4.00 Like the Rigoletto Quartet, this number is used by the com- poser to express many different emotions: The sadness of Mimi's farew^ell to Rudolph ; his tender efforts to induce her to remain ; the fond recollections of the bright days of their first meeting — - and contrasted to these sentiments is the quarreling of Musetta and Marcel, which Puccini has skillfully interw^oven with the pathetic passages sung by the lovers. In Mimi Miss Farrar has added another role to the long list of her successes in America, and her impersonation is a most charming one. She was in superb voice and has given this lovely music most effectively. Caruso sings, as he always does, w^ith a beauty of voice and a sincerity of emotion which cannot fail to excite admiration. Mme. Viafora, who is al- •ways a piquant, gay and inter- esting Musetta; and Signor Scotti, whose admirable Marcel is one of his finest impersonations, both vocally and dramatically, round out an ensemble v^hich could not be surpassed. Truly a brilliantly sung and perfect balanced rendi- tion of one of the greatest of concerted numbers. An- other version by famous artists of La Scala is also offered. TRENTiNI AS MUSETTA PAINTED BV THE DEATH OF MTMI VICTOR BOOK OF THE O P ER A— PU CC INI'S LA BOHEME ACT IV SCENE— 5ame as Act I ' 'j4t this timet the friends for many weeks had lived a lonely and melancholy existence. Muselta had made no sign, and Marcel had never met her, while no word of Mimi came to Rudolph, though he often repeated her name to himself. Marcel treasured a little bunch of ribbons which had been left behind by Musetta, and when one day he detected Rudolph gazing fondly at the pinl^ bonnet Mimi had forgotten, he muttered : 'It seems I am not the only one I ' " — Miirger. Act !V shows the same garret in which the events of Act I took place. Bereft of their sw^eethearts, the young men are hving sad and lonely lives, each trying to conceal from the other that he is secretly pining for the absent one. In the opening scene, Marcel stands in front of his easel pretending to paint, while Rudolph, apparently w^riting, is really furtively gazing at Mimi's little pink bonnet. Ah Mimi, tu piu (Ah, Mimi, False One!) By Enrico Caruso, Tenor, and Antonio Scotti, Baritone {In Italian) 89006 12-inch, $4-00 By McCormack and Sammarco (Italian) 89044 12-inch, 4-00 By Da Gradi and Badini {In Italian) ^==45013 10-inch, 1.00 Three records of this favorite duet are offered — by Caruso and Scotti, McCormack and Sammarco — and a popular priced version. The friends, however, pretend to brighten up w^hen Schaunard and Colline enter w^ith materials for supper, and the four Bohemians make merry over their frugal fare. This scene of jollity is interrupted by the unexpected entrance of Musetta, who tells the friends that Mimi, abandoned by her viscount, has come back to die. The poor girl is brought in and laid on Rudolph's bed. while he is distracted v/ith grief. The friends hasten to aid her, Marcel going for a doctor, while Colline, in order to get money to buy delicacies for the sick girl, decides to pawn his only good garment, an overcoat. He bids farewell to the coat in a pathetic song, w^hich Journet delivers here with much feeling. Vecchia zimarra (Coat Song) By Marcel Journet, Bass (In Italian) 64035 10-inch, $1.00 Colline goes softly out, leaving Mimi and Rudolph alone, and they sing a beautiful duet. Sono andati ? (Are We Alone ? ) By Maria Bronzoni, Soprano, and Franco de Gregorio, Tenor {In Italian) =^^45013 10-inch. $1.00 The past is all forgotten and the reunited lovers plan for a future which shall be free from jealousies and quarrels. Just as Mimi, in dreamy tones, recalls their first meeting in the garret, she is seized with a sudden faintness which alarms Rudolph, and he summons his friends, who are returning with delicacies for Mimi. But the young girl, weakened by disease and privations, passes away in the midst of her weeping friends, and the curtain falls to Rudolph's despairing cry of "Mimi! Mimi!" S'STANTINO AS EUD(JLPH DOUBLE-FACED AND MISCELLANEOUS BOHEME RECORDS By Victor Sorlin JBoheme Fantasie ( 'Cello) \ Calm Sea and Happy Voyage — Overlure /Boheme Selection I Jolly Robbers Ooerture iSuppe') jAh, Mimi, tu piu (Ah, Mimi, False One !) I By Da Gradi and Badini [Sono andati? By Bronzoni and de Gregorio By Pryor's Bandj By Pryor's Band) By Pryor's BanJI 35132 35077 (In kalian) \45013 {In Italian) I /Musetta "Waltz ( Whistling Solo) \ Carmen Selection (Xylophone) Guido Gialdinil Wm. H. Reitzi^^^^^ * Double-Faced Record— -For title of opposite side see above list. 42 12-inch, $1.25 12-inch, 1.25 10-inch, 1.00 10-inch, .75 i£ _______ life - ■wfcgaaM^iPWMa^Mn^ i«3fr/>JKvM PMOro HALL ^jj^ ABULLll ! \RLI\E — \ T 1 THE BOHEMIAN GIRL OPERA IN THREE ACTS Text by Bunn ; music by Balfe. First produced at Drury Lane Theatre, London, November 27, 1843. First American production November 25, 1844, with Frazer, Seguin, Pearson and Andrews. Bunn took his plot from a ballet written for EUsler, the dancer, by St. Georges, but transferred the scene from Scotland to Hungary. The work was immedi- ately successful in England, and was eventually translated into almost every language of Europe, and during the next t^venty years "was produced in Italy as La Zingara ; in Hamburg as La Gitana ; in Vienna as Die Zigeunerin ; and in Paris, with additional numbers, as La Sohdmienne. Characters ARLINE, daughter of Count Arnheim Soprano THADDEUS, a Polish exile Tenor Gypsy Queen Contralto DEVILSHOOF, Gypsy leader Bass Count arnheim. Governor of Presburg Baritone FLORESTINE, nephew of the Count Tenor Retainers, Hunters, Soldiers, Gypsies, etc. Time and Place : Presburg, Hungary ; nineteenth century. The story of this opera is quite familiar, and can be dismissed with a brief mention. Thaddeus, an exile from Poland, is fleeing from Austrian troops, and to facilitate his escape he casts his lot with a band of gypsies, headed by Devilshoof. As the tribe is crossing the estate of the Governor of Presburg, Count Arnheim, Thaddeus is enabled to rescue the little daughter of the Count from a wild stag, and in his gratitude the Count invites the gypsies to the hunting dinner. In the course of the festivities Thaddeus refuses to drink the health of the Emperor, and is about to be arrested when Devilshoof interferes and is himself confined in the Castle, while Thaddeus is permitted to go. Deoilshoof climbs from a window and 43 VICTOR BOOK OF THE OPERA— THE BOHEMIAN GIRL steals the little Arline, making his escape good by chopping down the bridge across the ravine as the soldiers pursue him. Twelve years elapse and w^e see the camp of the gypsies, among w^hom Arline has grow^n to be a beautiful girl of seven- teen. Thaddeus, w^ho has fallen in love with the young girl, now^ tells her of his love, and in a beautiful duet the lovers plight their troth. The Gypsy Queen, herself enamored of Thaddeus, is forced to unite him to Arline, but secretly plans vengeance. Her oppor- tunity soon comes, as she con- trives to have y^r/ine accused of stealing a medallion from the young nephew of Count Arn~ heim, w^ho has come to the fair at Presburg, near w^here the gypsies are camped. Arline is arrested and taken before the Count, who in the course of the examination recognizes her as his daughter, from the scar made by the stag in her child- hood. The third act shows j4r/zne restored to her position, but still secretly pining for her gypsy lover. Devilshoof contrives to get Thaddeus into the castle and he secures an interview with Arline. They are interrupted, however, by the Count's approach, and Thaddeus hides in a closet as the guests arrive for a reception in honor of the newly-found heiress. THE COUNT RECOGNIZES HIS DAUGHTER- — ACT II THE OUEEN ACT [11 The Queen, still bent on revenge, now enters, and in a dramatic denunciation reveals the hiding place of I haddeus. The Count asks for an explanation, and y4r/rne declares she loves I haddeus even more than her father. The Count, enraged, is about to attack Thaddeus, when the young man reveals his history and proves himself to be of noble blood. The Count then gives his consent and all ends happily. 44 VICTOR BOOK OF THE OPERA— THE BOHEMIAN GIRL Many of the most effective numbers from this pretty opera have been recorded by the Victor, besides the brilliant potpourri made by the Opera Company, -which includes no less than seven of the most tuneful bits. DOUBLE-FACED AND MISCELLANEOUS BOHEMIAN GIRL RECORDS (Overture to Bohemian Girl \ La Czarine Mazurl^a {Canne) (l Dreamt I Dwelt in Marble Halls \Then You'll Remember Me (The Heart BoTv'd Down Herbert \ Good Bye, Sweetheart (The Heart Bow^'d Dow^n \ Home to our Mountains (Then You'll Remember Me \ I'll Sing Thee Songs of Arahy (Clay) Then You'll Remember Me /Then You'll Retnember Me \I Dreamt I Dwelt in Marble Halls /Then You'll Remember Me \ Vilia Song (Fantasia of Principal Airs \^m, t Jig Medley (Rollinson) Selection from Bohemian Girl Yelva Overture (Reissiger) Pryor's Band] Pryor's Bandj Elizabeth Wheeler! Harry Macdonough/ Goddard (Piano ace. ) Herbert Goddardj Alan Turner) Morgan and Macdonoughj Frederic Freemantel) Harry Macdonoughj George Hamlin Harry Macdonough) Elizabeth WheelerJ Harry Macdonough\ Elizabeth IVheelerj H. Reitz (Xylophone) Pryor's Bandi Pryor's Band\ Pryor's Bandj 1628r 16398 16064 1640r 35048 74134 16398 35082 16505 35081 10-inch, $0.75 10-inch. .75 10-inch. .75 10-inch. .75 12-inch. 1.25 12-inch. 1.50 10-inch, .75 12-inch. 1.25 10-inch, .75 12-inch, 1.25 Gems from Bohemian Girl Part of Overture — Chorus, " In the Gypsy's Life " — Chorus, "Come with the Gypsy Bride" — Entr'act Waltz — Chorus, "Happy and Light" — "Then You'll Remember Me "—Finale, "Oh, 'What Full DeUght " By the "Victor Light Opera Company 31761 12-inch. $1.00 PHQTO BYRON THE CARNIVAL AT PRESBURG ACT U 45 L \RMLN b 1)1 1 CARMEN OPERA IN FOUR ACTS Text by Meilhac and Halevy, founded on the novel of Prosper Merimee. Music by Bizet. First production at the Opera Comique, Paris, March 3, 1875. First London produc- tion June 22, 1878. First New York production October 23, 1879, with Minnie Hauk. Some notable revivals were in 1893, being Calve's first appearance; in 1905 with Caruso; and the Hammerstein revival of 1906, v/ith Bressler-Gianoli, Dalmores, Gilibert, Trentini and Ancona. Characters Don Jose. (Don Ho-zay') a Brigadier Tenor ESCAMILLO, {Es-ca-meel' -yo) a Toreador Bass DANCAIRO. (Dan-ky'-row) 1 ^ , ( Baritone o m u £ 2 1 e rs REMENDADO. (Rem-en-dah' -dou}) ) I Tenor ZUNIGA, iZoo-nee -gah) a Captain Bass Morales. {Mok-tah' -kz) a Brigadier Bass MICAELA, {Mih-ky-a,/ -lah) a Peasant Girl Soprano FRASQUITA, (Frass-kee'-tah) 1 _ . , . , , ^ I . . . Mezzo-Soprano <■ Livpsies, rriends or Carmen . . , ^ Mercedes, (A/er-cW-<^eei) ' l Mezzo-Soprano Carmen, a Cigarette Girl, afterwards a Gypsy Soprano An Innkeeper, Guide, Officers, Dragoons, Lads, Cigar Girls, Gypsies, Smugglers. Scene and Period : Seville, Spain; about 1820, 47 VICTOR BOOK OF THE O P E R A — B I Z E T ' S CARMEN BIZET Georges Bizet was a native of Paris, where he was born on October 25, 1838. Like Gounod and Berlioz, he won the Prix de Rome (Pree de Roam'); in this case in 1857, the year that his first opera, Docteur Miracle, was produced. Among other productions came Les Pecheurs de Perles, in 1863, an opera recently revived at Covent Garden Vi^ith Mme. Tetrazzini as Leila, Carmen was produced in 1875, and this most Parisian of all operatic works w^as received at its production with a storm of abuse. It was immoral, it was Wagnerian — the latter at that time being a deadly sin in France! Nevertheless, the supreme merits of Carmen have won it a place among the two or three most popular operas in the modern repertory. The talents of Bizet are shown by his remarkable lyric gifts ; the power of writing short, compact and finished numbers, full of exquisite beauty and convincing style, at the same time handling dramatic scenes with the freedom demanded by modern opera. His music is more virile, concentrated and stimulating than perhaps any other French composer. It was probably not a little owing to the hostile reception of this, his finest work, that its composer died three months later. The music Bizet has written, however, is likely long to survive him, and chief among the works into which he ungrudgingly poured his life's energy was Carmen. THE PLOT I Carmen has its opening scene in a public square in Seville, showing at one side a guard- house, where Jose, a young brigadier, keeps guard. Micaela, a peasant girl whom he loved in his village home, comes hither to seek him with a message from his mother. As Jose appears, the girls stream out from the cigarette factory hard by, and with them their leading spirit in love and adventure. Carmen, the gypsy, reckless and bewitching. Heedless of the pressing throng of suitors, and attracted by the handsome young soldier. Carmen throws him a flower, leaving him dazed and bewildered at her beauty and the fascinating flash of her dark eyes. A moment later a stabbing affray with a rival factory girl leads to the gypsy's arrest, and she is placed in the care of Jose himself. A few more smiles and softly-spoken words from the fascinating Carmen, and he is persuaded to allow her to escape. There is a sudden struggle and confusion — the soldier lets go his hold — and the bird has flown I II Act 11 takes place in the tavern of Lillas Pastia, a resort of smugglers, gypsies and ques- tionable characters generally. Here arrives Escamillo, the toreador, amid the acclamations of the crowd, and he, like the rest, offers his homage to Carmen. Meanwhile, the two smug- glers, Dancairo and Remendado, have an expedition afoot and need Carmen to accompany them. But she is awaiting the return of the young soldier, who, as a punishment for allow- ing her to escape, had gone to prison, and she will not depart until she has seen him. The arrival of Jose leads to an ardent love scene between the two. Carmen dances her wild gypsy measures before him ; yet, in the midst of all, he hears the regimental trumpets sounding the retreat. While Carmen bids him remain and join her, the honor of a soldier urges him to return. The arrival of his captain, who orders him back, decides /oie. He defies his officer, who is bound by the smugglers, and Jose deserts his regiment for Carmen. Ill The next scene finds Jose with the smugglers in the rocky camp in the mountains. The career of a bandit, however, is one to which a soldier does not easily succumb. His distaste offends Carmen, who scornfully bids him return home, she also foreseeing, in gypsy fashion, with the cards, that they will end their careers tragically together. In the midst of this strained situation two visitors arrive: Escamillo, the toreador, in the character of anew suitor for Carmen; a.nd Micaela, with a message {mm Jose's dying mother. The soldier, frustrated in his attempt to kill Escamillo, cannot resist the girl's appeal and departs, promising to return later for his revenge. ^_^ The final act takes place outside the Plaza de Tons, at Seville, the scene of Escamillo's triumphs in the ring. Carmen has returned here to witness the prowess of her new lover, and is informed by her friends that Jose, half crazed with jealousy, is watching, capable of desperate deeds. They soon meet, and the scene between the maddened soldier and the gypsy is a short one. The jealous Jose appeals to her to return to him, but she refuses with scorn although she knows it means death. In a rage Jose stabs her, and thus the end comes swifdy, while within the arena the crowd is heard acclaiming the triumph of Escamillo. 48 VICTOR BOOK OF THE O P E R A — B I Z E T ' S CARMEN ==68052 *62617 12-incli, $1.25 10-inch, .75 -^^^^^^^ Prelude (Overture) By La Scala Orchestra By La Scala Orchestra The Prelude to Carmen opens with a quick march in 2-4 time, on the following theme : The march is of an exceedingly virile and fiery description and is taken from the music preceding the bull-fight in the last act. Following this stimulating march comes the "Toreador's Song." leading to the march theme again. These two sections, complete in themselves, are now foUow^ed by a short move- ment in triple time indicating the tragic con- clusion of the drama. Here, the appealing notes of the brass, heard beneath the tremolo of the strings, gives poignant expression to the pathos which lies in the jealous love of the forsaken Jose, and expresses the menace of the future death of Carmen. This movement breaks off on a sudden detached chord of the diminished seventh as the curtain rises. ACT I SCENE — A Public Square in Seville The curtain rises on a street in Seville, gay with an animated throng. In the fore- ground are the military guard stationed in front of their quarters. The cigarette factory lies to the right, and a bridge across the river is seen in the background. Among the crow^d which throngs the stage a young girl may be seen searching for a familiar face. It is Micaela, the maiden whom Jose has left behind in his native village. The soldiers accost her. and from them she learns of her lovers absence. She declines the invitation to remain, and departs hastily. The cigarette girls now emerge from the factory, fill- ing the air v^^ith the smoke of their cigarettes, and with them Carmen, w^ho answ^ers the salutations of her admirers among the men by singing the gay Habanera, Habanera (Love is Like a W^ood-bird) By Jeanne Gerville-Reache, Contralto (In French) 88278 12-inch, $3.00 By Emma Calve, Soprano (In French) 88085 12-inch, 3.00 By Maria Gay, Mezzo-Soprano (In Italian) 92059 12-inch, 3.00 This charming "Habanera" has always been a favorite Carmen number, its entrancing rhythm always being delightful to the ear ; and it does not seem strange that Don Jose found it irresistible when sung by Carmen. Though often attributed to Bizet, the air was not original w^ith him, but was taken from Yradier's "Album des Chansons Espagnoles. " The refrain, AUegreito quasi Andantino. SETTING OF ACT I L'a-mourest en - fant de Bo - h€nie And Love's a gyP - sy boy to true. II n'a Ja - mals, ]a>inals con-nu de . loi, He ev • er was a rov-er free as air/ is a particularly fascinating portion of the number. * DoubleFaced Record—For tilk of opposite side see DOUBLE-FACED CARMEN RECORDS, page 60. VICTOR BOOK OF THE OPERA — BIZET'S CARMEN HABANERA. rARMI-:N SIKi-.l NC IIAPANERA 'Love is Like a Wood-Bird Wild." Ah I love, thou art a wilful wild bird. And none may hope thy wings to tame, If it please thee to be a rebel, Say, who can try and thee reclaim? Threats and prayers alike unheeding; Oft ardent homage thou'lt refuse, \yhilst he who doth coldly slight thee, TIiou f(]r thy master oft thou'lt choose. Ah, love! For love he is the lord of all, And ne'er law's icy fetters will he If thou me lovest not, I love thee. And if I love thee, now beware! If thou me lovest not, bewaixl But if I love you, if I love you, beware ! hcwa To a large number of opera-goers and music-lovers there is but one emotional soprano — but one exponent of such roles as Carmen and Santuzza. Calve's Carmen, especially, is almost universally accepted as the greatest of all impersonations of the role. Gerville-Reache's Carmen is a fine impersonation, on quite original lines, her conception being based on a careful study of Merimee's story and on the teachings of her Spanish mother. Carmen, according to Mme. Gerville-Reache, was a passionate and fickle woman, but not a vulgar one. The men invite Carmen to choose a new lover, and in reply she flings a flower in the face of the sur- prised ]osc and laughingly departs. Mia tnadre vedo ancor (My Mother I Behold) By Fernando de Lucia, Tenor, and Giuseppina Huguet, Soprano {Piano ace.) {In Italian] 92052 12-inch, $3.00 Parle-moi de ma mere (Tell Me of My Mother) By Lucy Marsh, Soprano, and John McCormack, Tenor (In French) 74345 12-inch, $1.50 Now Micae/a returns, and finds the soldier she seeks. Her song tells of the message of greeting she brings Jose from his mother, and with it a kiss. The innocence of Micaela is here a foil to the riper attractions of the gypsy, and the music allotted to the maiden possesses the same simple charm ; the conclusion of Micaela's air being a broad sustained melody of much beauty. Jose takes up the strain, as the memories of his old home crowd upon him, and the beautiful duet follows. o*" *» carmen 50 VICTOR BOOK OF THE O P E R A — B I Z E T ' S CARMEN Jose; Ah! tcU me of her — -my mother far away. CALVE AS CARMEN Micaela leaves him after a tender fare-well, and Jose begins to read his mother's letter, but is interrupted by a commotion w^ithin the factory. Carmen has stabbed one of her companions, and is arrested and placed under the guard of Don Jose. The soldiers drive away the crowd, and Carmen, left alone w^ith Jose, brings her powers of fascination to bear on the young soldier, partly to facili- tate her escape, and partly because he has attracted her attention. Here she sings the Seguidilla, a form of Spanish country dance. Seguidilla (Near the "W alls of Seville) By Maria Gay, Mezzo- Soprano i In Italian) 91085 10-inch, $2.00 By Margarete Matzenauer, Mezzo-Soprano (In French) 87103 10-inch. 2.00 The Seguidilla is one of Spain's most beloved dances, and its rhythm is most fascinating. Bizet has given us a brilliant to Michael Carre's w^ords. Carmen (airily) : Nigh to the walls of Sevilla, Soon at my friend Lillas I^astia I'll trip thro' the light Seguidilla. And I'll quaff Manzanilla, I'll go seek out my friend Lillas Pastia. will to thee render, from the chapc-l came, MlCIIAELA : Faithful messenger from her to thee, I bring a leUcr. And some money also; liecause a dragoon has not too much. And, besides that — Jose: Something else? MiCHAELA : Yes, I will tell you. What she has given, I Your mother with me And then, lovingly, she kissed me "My daughter," said she, to llie city go: A\'hen arrived in Seville, Thou wilt seek out Jose, my beloved son; Tell him that his mother, By night, by day,_ thinks of her Jose: For him she always prays and hopes, And pardons him, and loves him ever. And then this kiss, kind one. Thou wilt to him give for me." Jose; A kiss from my mother? MiCHAELA : To her son. Jose, I give it to thee — as I proiniscfl. {Alicliaela stands on tip-toe and kisses Jose a true mother's kiss. — Jose is moved ai regards Michaela tenderly.) Jose; My home in yonder valley. My mother lov'd shall I e'er see? Ah fondly in my heart I cherish Mem'ries so dear yet to me. ^MrCHAELAI That one sweet hope, 'Twill strength and courage give thee. That yet again thou wilt thy home And thy dear mother once more see. I^M 1 ^ "*^^3Hi |H ^/i^ ^HH H^H 'JB' ^^^ff R i^^si KjI., m| iWJH |r^ il^^.^P w^ 3 ,;^^^' CAKM!-:N AND KSCAMILl.O AT THF: INN ACT II example in this dainty number, which he has set {Plaintively, casflni/ glances at Jose): Yes, but alone one's joys are few, Onr pleasures double, shared by two! So just to keep me company. My beau I'll take along with me! 51 VICTOR BOOK OF THE OPERA — BIZET'S CARMEN THE INN OF PASTIA ACT II Although Jose says to himself that the girl is only amusing herself, and whiling away the time with her gypsy songs, the w^ords w^hich fall on his ear — of a meeting-place on the ramparts of Seville^of a soldier she loves — a common soldier, all these play upon the feel- ings of Jose and rouse in him a love for the changeful gypsy, -who is fated to be the cause of his dov^nfall. He unties her hands, and w^hen the soldiers are conducting her to prison she pushes Jose, who falls, and in the confusion she escapes. Between Acts 1 and II is usually played a charming entr'acte, w^hich has been rendered for this Carmen series by Mr. Herbert. Intermezzo (1st Entr'acte) By Victor Herbert's Orch. 60067 10-inch, $0.75 ACT 11 SCENE — A Tavern in the Suburbs of Seville The second act opens amid the Bohemian surroundings of the tavern of Lillas Pastia ; the w^ild tune w^ith w^hich the orchestra leads off depicting the freedom and gaiety w^ith w^hich the mixed char- acters here assembled are wont to take enjoyment and recreation. Les tringles des sistres (Gypsy Song) By Emma Calve, Soprano {In French) 88124 12-inch, $3.00 Carmen again leads them w^ith her song, another lively gypsy tune, in the exulting refrain of which all join, a picture of reck- less merriment resulting. All! when of gay guitars the sound (.)n tliL- ail- in cadence ringing, Ouickly forth the gipsies springing, To dance a merry, mazy round. While tambourines the clang prolong, In rhythm with the music beating. And ev'ry voice is heard repeating The merry burthen of glad song. Tra la la la. etc. 52 ALVE SINT.IN SONG G THE GYPSY ACT II VICTOR BOOK OF THE O P E R A — B I Z E T ' S CARMEN But Carmen is thinking of the soldier who went to prison for her sake and who, now at liberty, will shortly be with her. Her musings are interrupted by the arrival of a procession in honor of Escamillo, whose appearance is followed by the famous " Toreador Song," the most popular of all Carmen numbers. Cancion de Toreador (Toreador Song) By Titta Ruffo, Baritone, and La Scala Chorus {In Italian) 92065 12-inch, $3.00 By Emilio de Gogorza, Baritone, and New^ York Opera Chorus (/n Spani5/i) 88178 12-inch, 3.00 By Pasquale Atnato, Baritone {In Italian) 88327 12-inch, 3.00 By Giuseppe Campanari, Baritone {In Italian) 85073 12-inch, 3.00 By Alan Turner, Baritone {In English) *lbS21 10-inch, .75 By Francesco Cigada, Baritone; Giuseppina Huguet, Soprano; Inez Salvador, Mezzo- Soprano ; and La Scala Chorus (/n/(a/(an) *626 18 10-inch, .75 No less than six renditions of this universal favorite are offered by the Victor for the choice of customers. After Escamillo' s departure, Carmen's comrades invite her to part upon a smuggling expedition, but ""'' oi™"' she refuses to stir until she sees the caruso as don jhse soldier for whom she is waiting. Their efforts to persuade her has been put by Bizet into the form of a brilliant quintet. Quintet— "Nous avons en tete une affaire" (W^e Have a Plan) By Mmes. Lejeune, Soprano; Duchene, Mezzo- Soprano ; Dumesnil, Soprano ; Mm. Leroux, Tenor; Charles Gilibert, Baritone {In French) 88237 12-inch, $3.00 This is one of the favorite numbers in Bizet's opera, and at the same time one of the most difficult imaginable. When sung as the tempo indicates, it goes at break-neck speed, and it is only the most capable artists who can do it justice. For the present reproduction, the Victor assembled a most competent corps of singers, who were under the direction of the late Charles Gilibert, himself the most famous of Remendados. Jose's voice being heard outside, Carmen pushes her compan- ions from the room, and greeting him with joy, questions him about his two months in prison. She then tries her fascinations on the stolid soldier to induce him to join the band of smugglers. Carmen dances for the soldier while he watches her with fascinated gaze. Her efforts are useless, as he is reminded of his duty when he hears the bugle in the distance summoning him to quarters. "Then go, 1 hate you ! " says Carmen, and mocks him, singing Ah, this is too mortifying! All to please you, sir, I gaily sang and danced. (Aside.') But now ta ra ta ! he hears the trumpet call! Ta ra ta ra ! and then off he flies Like a guest to a feast! She is furious, and pitches at him his cap and sabre, and bids him begone. ^oubl.-FacedReco,d^For title of opposite side see DOUBLE-FACED CARMEN RECORDS, page 60. 53 DALMORES VICTOR BOOK OF THE O P E R A — B I Z E T ' S C A R MEK Air de la fleur (Flo^ver Song) 12-inch, $3.00 By Enrico Caruso. Tenor {In French) 88208 By Enrico Caruso, Tenor {In Italian) 88209 By Charles Dalmores. Tenor {In French) 85122 By Herman Jadlowker, Tenor {In French) 7602 7 By Fernando de Lucia, Tenor {In Italian) 76001 By Evan Williams, Tenor (In English) 74122 By John McCormack, Tenor {In Italian) 74218 Desperate at the thought of losing her forever, 'Don Jose shows her the flowers she threw him at their first meeting, and which he had preserved, then sings this lovely romance, beginning: AndanlmD. (J — 69.) p con amore. 12-inch, 3.00 12-inch, 3.00 12-inch, 2.00 12-inch, 2.00 12-inch, 1.50 12-inch, 1.50 BRESSLER-CIANOLI AS CARMEN r^^. r, r r^j ^ ^^jNj \ c : r: g ^ ^ La fleur que tu ma-vals je - te - e Dans ma pri - son This flow' r you, gave to me, de -grad - ed 'MidpH-son walls m'e-tait res - 16 - e . I've kept tho" fad - ed TKe struggle between love and duty -which has been distracting the unfortunate lover is now seemingly forgotten, and he pours out his heart in this romanza, telling only of his great passion for the beautiful but heartless gypsy. 1 )nN Jose: Tliis flower you gave to nic, degraded 'Mid prison walls, I've kept, the' faded; Tlio' withered quite, the tender bloom ])oth yet retain its sweet perfume. Nij^ht and day in darkness abiding, I tile truth, Carmen, am confiding; Its loved odor did I inhale. And wildly called thee without avail. My love itself I cursed and hated. Then alone myself I detested. And naught else this heart interested, Naught else it felt but one desire, One sole desire did it retain. Carmen, beloved, to see thee once again! O, Carmen, mine ! here as tliy slave, love binds me fast, Carmen, I love thee! From Scliirraer ncore. Coii_T't 0. S<:lurmer The number might have been written expressly for Caruso, so well does it suit his voice and style. One can but marvel at the masterful ease of phrasing, and the warmth of vocal coloring imparted by the singer. The changing moods of the lover are here indicated with dra- matic expression — the regret at the havoc Carmen has played with his life mingling with the devotion for her he still feels. This is a remarkable and memorable performance, the whole song being lighted up with that rich vocal beauty and artis- tic genius which belong only to a Caruso. Other fine renditions, at varying prices, in both Italian and English, are also offered. Carmen then paints the Joys of the gypsies' life which might be Jose's, if he would desert his regiment and follow her. ',4 DE LUSSAN AS CARMEN VICTOR BOOK OF THE O P E R A— B I Z E T * S CARMEN Las bas dans la montagne (A'way to Yonder Mountains) By Emma Calve, Soprano, and. Charles Dalmores, Tenor {In French] 89019 12-inch, $4.00 lovely ing ears, his voice joining hers at the cl e close, in a JcjSF, : (.'aniien 1 C'arm i:x : Wilt come witli mc ? I_Tp yondfv. up yonilcr, thus will we Away, if thuLi iov'st nic, tiij^cthL-r I The soldier listens with half-wil duet passage. Carmen : For roof, the sky — a wandering life; For country, the whole world; Thy will thy master; And above all — most prized of all — Liberty ! freedom! Up yonder, up yonder, if thou Inv'st me, To the mountains, together we'll go. However, in spite of Carmen's fascinations, Jose is about to return to his duty, when the appearance of his superior officer Zuniga, w^ho orders him back, decides the matter. Don Jose resents the overbearing tone his captain uses and defies him. Zuniga is finally overpowered and bound by the gypsies, and the smugglers all depart on their expedition. Aragonaise (2d Entr'acte) By Victor Herbert's Orchestra 70067 12-inch, $1.25 By La Scala Orchestra {Doubk^/aced —See page 60) 62102 10-inch, .75 The retreat in the mountains is musically described by this pastoral intermezzo. A dreamy melody given to the flute, with a pizzicato accompaniment, is taken up by the other instruments in turn, the strings joining in the coda. AndarUino quasi aUegretUt. This is one of the finest records made by the Herbert Orchestra, who have given an artistic and finished rendering of the interlude. MICAELA PLEADS WITH JOSE— ACT III 55 VICTOR BOOK OF THE O P E R A — B I Z E T ' S CARMEN ACT III SCENE— /I Wild and Rock}! Pass in the Mountains As the curtain rises, the smugglers are seen entering their rocky lair. Here occurs the famous sextette, a portion of which is given in the "Gems from Carmen" (page 60). The smugglers prepare to camp for the night. It is evident that Jose is already repenting of his folly, and that Carmen is tiring of her latest lover. After a quarrel with Jose, she joins Frasquila and Mercedes, who are telling fortunes with cards. En vain pour eviter (Card Song) By Lavinde Casas.Mezzo-Soprano (Piano ace.) (/n/(a//an) *62617 10-inch, $0.75 Carmen tells her own fate by the cards, reading death, first for herself and then for her lover. In vain she shuffles and re-tries the result ; the ans-wer is ever the same. This highly dramatic air, one of the most impressive numbers in Bizet's opera, is effect- ively sung by Mme. d6 Casas. The neighboring camp being ready, the smugglers retire, and the stage is once more deserted. Je dis que rien ne m'epouvante (Micaela's Air," I am not Faint- Hearted") By Geraldine Farrar, Soprano (In French) 88144 12-inch, $3.00 By Alma Gluck, Soprano (In French) 74245 12-inch, 1.50 Into this strange and v^^ild scene now enters Micaela, the peasant s-weetheart of Don Jose, who has forgotten her in his fascination for the wayward Carmen. Micaela has braved the dangers of the road to the smugglers" retreat, whither Don Jose has followed Carmen, to carry to the soldier a message from his dying mother. The innocent girl is frightened by the vast and * Douhle-FaceJ Record— For title of opposite sije see DOUBLE-FACED CARMEN RECORDS, page 60. .50 THE CARDS PRKmCT CARMEN S DEATH (EMMA calve) VICTOR BOOK OF THE O P E R A — B I Z E T ^ S CARMEN lonely mountains, and in her aria appeals to Heaven to protect her, ingenuously confessing her love for Don Jose and her detestation of the ■woman who has led him away from his duty. Micaela: I try not to own that I tremble; But I know I'm a coward, altlio' bold I appear. Ah! how can I ever call up my courai-'e, While horror and dread chill my sad heart with fear? Here, in this savage retreat, sad and weary am I, Alone and sore afraid. Ah! heav'n, to thee I humbly pray. Protect thou me, and guide and aid! I shall see the guilty creature. Who by infernal arts doth sever From his country, from his duty, riim I loved — and shall love ever! I may tremble at her beauty, But her power affrights me not. Strong, in my just cause confiding, lieaven! I trust myself to thee. Ah! to this poor heart give courage, Protector! guide and aid now me! The young girl, hearing a shot fired, runs into a cave in fright. Jose, who is guarding the smugglers' effects, has seen a stranger and fires at him. It proves to be Escamillo, the toreador, w^ho has come to join Carmen. He appears, examining his hat with rueful gaze, as trentini as frasquita Jose's bullet had gone through it. '*Who are you?" says the latter. " 1 am Escamillo, toreador of Granada I " replies the bull fighter. The duet which follows is given here by two famous artists of the Paris Opera. Je suis Escamillo (I am Escamillo!) By Leon Beyle, Tenor, and Hector Dufranne, Baritone {Double-faced— See page 60) {In French) 62750 10-inch, $0.75 The two men compare notes, and learning that they are rivals, Jose challenges the other to a duel with knives, w^hich is interrupted by the timely arrival of Carmen herself. This dialogue, with the fiery duet at the close, well depicts this exciting scene. A popular priced rendition by Beyle and Dufranne, of the Opera, is listed above. Finale — *'Mia tu sei" (You Command Me to Leave You) By Antonio Paoli, Tenor; Giuseppina Huguet, Soprano; Inez Salvador, and Francesco Cigada {In Italian) 92035 12-inch, $3.00 A dramatic scene between Carmen and Jose is interrupted by Micaela, who begs Jose to return to his mother; and Carmen, with fine scorn, echoes her request. Thus to leave his rival in possession of the field is too much for the soldier, who swears never to be parted from the gypsy until death. Michaela: Be not deaf to my prayers; Thy mother waits tliee there. The chain that binds thee, Jose ] )eath will break. Jose {to M ichacta) : CiO from hence; I cannot follow thee. (To Carmen.) Mine thiai art, accursed one! And I will force thee to know And submit to the fate That both our lives unites! The message from his dying mother, however, decides him ; he will go, but vows to return. In this wild and tumultuous number the jealous anger of Jose gives rise to some highly dramatic singing, delivered with extreme intensity and power by Paoli. the tragic theme at the close being introduced with meaning effect. The Toreador chorus indicates the triumph of Escamillo in the gypsy's attentions, and this with the orchestral close slowly sinking to rest brings the powerful act to a finish. 57 Carmen (to Jose) : Go, and go quickly; stay not here; This way of life is not for thee! losE (to Carmen) : To depart thou dost counsel me? Carmen : Yes, thou shouldst go — Jose {fiercely) : Yes, that thou mayst follow Another lover — the toreador! No, Carmen, I will not depart! VICTOR BOOK OF THE O P E R A — B I Z E T ' S CARMEN ACT IV (A Square in Seville, with the walls of the Bull Ring shown at the back) Prelude By Victor Herbert's Orchestra 70066 12-inch, $1.25 The fourth act opens with a momentary brightness. Outside the Plaza de Tows, in Seville, an animated crowd awaits the procession about to enter the ring. This short movement is a quick bustling one, only the plaint- ive oboe solo indicating the tragedy w^hich is soon to occur. The playing of this striking prelude is on the same artistic level w^hich marks each of the renditions by this famous orchestra. This scene, as the orange sellers, hawkers of fans, ices and the rest, press their w^ares on the waiting crowd, is extremely gay, and affords w^elcome relief from the intensity of the drama. Escamillo, w^ho has returned to take part in the bulhfight, now enters, and all join in the refrain of the Toreador Song in his honor. Se tu m'ami (If You Love Me) By Margarete Matzenauer, Mezzo-Soprano ; Pasquale Amato, Baritone: with Metropolitan Opera Chorus {In Italian) 89061 12-inch, $4.00 By Inez Salvador, Mezzo-Soprano, and Francesco Cigada, Baritone {Double-faced— Sec page 60) {In Italian) 62102 10-inch, .75 Escamillo takes farewell of Carmen before entering the arena. He promises to fight the better for her presence, and she. half conscious of w^hat is coming, avows her readiness to die for him. This number is full of lovely melodies and one of the most beautiful records of the Carmen series. JOSE PLEADING WITH CARMEN \LT TITE DKATTi; OK CARMliN^ACT IV 58 VICTOR BOOK OF THE OPERA BIZET'S CARMEN to which As the procession passes on, the warning comes to Carmen that Jose is here, she rephes that she fears him not. Duetto e Finale (Duet and Finale) By Maria Passeri, Mezzo-Soprano ; Antonio Paoli, Tenor; and La Scala Chorus 92050 12-inch, $3.00 Jose now enters and makes a last appeal, which is dramatic in its intensity. It takes the form of a swinging melody to an insistent triplet accompaniment. To each request of her lover, Carmen adds her disdainful negative, reckless of the danger which threatens her. JusE (in desperation) : Now thou refusest my prayurs, Inhuman girl! For thy sake am I lost! And then to know thee shameless, infamous! Laughing, in his arms, at my despair! No, no! it shall not be, by Heaven! Carmen, thou must be mine, mine only! Carmen (proudly) ; No, no. never ! Jose: Ah! weary am I of threats. Carmen: Cease then, — or let me pass! Chorus {in bull ring): X'ietory! vielory! \'iva Escamillo I Jose: Again I beseech thee, Carmen, Wilt thou with me depart? MARTIN as don JOSE Carmen 's last refusal, as she flings him back his ring, rouses the soldier's jealousy to madness and he stabs her to the heart. As she falls the success of the Toreador in the arena is announced by the singing of his w^ell-known refrain. The last notes of the opera are a few pitiful tones from the stricken Jose addressed to the mute form of his beloved. This is another truly powerful record by Paoli, worthy of a climax such as this. The music is delivered with the realism and earnestness beyond the reach of all but the very few tenors, and it enables the listener to fully realize the stress and pathos of this moving dra- matic picture. JUSE AND CARI\I I . f ^35000 12-inch, 10-inch, $1.00 1.25 .75 DOUBLE-FACED AND MISCELLANEOUS CARMEN RECORDS Carmen Selection By Pryor's Band 31562 12-inch, /Carmen Selection By Sousa's Band \ Freischutz — Overture By Sousa 's Bandf /Carmen Selection By Pryor's Bandl ,^ei7r- ( Manon — J^h ! fu^ez douce image ! By M. T^occa, Tenorj The selection begins with the brilliant and animated Prelude, the first part of w^hich is given, including the refrain of the famous < J3, ^■"T^'''T'''"^"''"~^-,^i-fv— b ■ • n " Toreador Song." Then is heard (as a cornet ^- "" -- ^-"^ -v U ^ ^^^^^-^ . =^ ^E!irL± JiJ- ^ ^ / I j! . - solo) the quaint riabanera, i™< m lu^ a- > u^^ o.-j wm, 7»j/™^^/.^™ ,v . rrt^o^t « 62617 10-inch, 1 Soprano {Piano ace.) {In Italian)] rCanzone del Toreador (Toreador Song) By F. Cigada, Bari- 1 tone; G. Huguet, Soprano; I. Salvador, Mezzo-Soprano; I La Scala Chorus {In Italian) ( [ Caoalleria Rusticana — Intermezzo By Pr\}or's Orchestra} I Intermezzo — Acto III, Aragonaise La Scala Orchestra, Milan I Se tu m'ami (If You Love Me) By Inez Salvador, Mezzo- 62102 10-inch, I Soprano; F^ Cigada, Baritone {In Italian)} IJe suis Escamillo (I Am Escamillo!) By Leon Beyle, Tenor; 1 l Hector Dufranne, Baritone (/n Frenc/i) 162 750 10-inch, ( 'Ualse des looses (Me'lra) B\) Mile. Lucette Korsoff, Soprano {French) \ IPreludio, Acto IV By La Scala Orchestral '< Norma — Mira o Norma — By Ida Qiacomelli, Soprano; Lina Mileri, 62101 10-inch, I Contralto (In Italian) \ /Carmen Selection (X\)lophone) By Wm. Reitz) , 10 inch \ Boheme — Musetia Waltz (Whistling) By Guido Gialdinif 62618 10-inch, .75 .75 .75 .75 .75 .75 A FAMOUS OPEN-AIR PRODUCTION OF CARMEN IN FRANCE 00 THE METROPOLITAN OPERA HOUSE SETTING (Italian) CAVALLERIA RUSTICANA {Kah'OabUlay-ree -ah Roos-lee kah' -nah) (English) RUSTIC CHIVALRY OPERA IN ONE ACT Libretto adapted from the book of Verga by Targioni-Torzetti and Menasci ; music by Mascagni. First production in Rome, May 17, 1890. First London production at the Shaftesbury Theatre, 1891, First American production in Philadelphia, 1891. Cast SANTUZZA, {San-looi' 'Zah) a village girl Soprano Lola, {Low -lah) wife of Alfio Mezzo-Soprano TURIDDU, {Too-ree -doo) a young soldier Tenor Alfio, (At-fee-oh) a teamster Baritone Lucia, {Loo-chee -ah) mother of Turiddu Contralto Chorus of Peasants and Villagers. Chorus behind the scenes. The scene is laid in a Sicilian village. Time, the present. THE COMPOSER Pietro Mascagni, son or a baker in Leghorn, was born December 7, 1863. Destined by his father to succeed him in business, the young man rebelled, and secretly entered the Cherubini Conservatory. He began composing at an early age, but none of his works at- tracted attention until 1890, w^hen he entered a contest planned by Sonzogno, the Milan publisher. Securing a libretto based on a simple Sicilian tale by Verga, he composed the whole of this opera in eight days, producing a work full of dramatic fire and rich in Italian melody, and easily won the prize. Produced in Rome in 1890, it created a sensation, and in NOTE — The quotations from CaOallcrla RusUcana are given by kind permission of G. Schlrmer. (Copy'l 1 89 1 .) 61 VICTOR BOOK OF THE O PE R A— C A V ALLE RI A RUSTICANA a short time has become one of the most popular of operas. THE STORY Turiddu, a young Sicilian peasant, returns from the war and finds his sweetheart, Lola, has wedded Alfio, a carter. For consolation he pays court to Santuzza, who loves him not w^isely but too w^ell. Tiring of her, he turns again to Lola, who seems to encourage him. Prelude By La Scala Orchestra '35104 12-inch, $1.25 By Vessella's Italian Band 31831 12-inch, 1.00 The Prelude takes the form of a fantasia on the principal themes of the opera. Mascagni s lovely melodies are played with exquisite tone and expression, while at the climaxes the entry of the brass is most artistically managed. This is band playing of a high order, and certainly the best record of the Prelude w^e have heard. The La Scala Orchestra record is also a most interesting one. During the prelude Turiddu 's voice is heard in the charm- ing Siciliana, in w^hich he tells of his love for Lola : Siciliana (Thy Lips Like Crimson Berries) By Enrico Caruso, Tenor [Harp ace.) By Enrico Caruso, Tenor (Piano ace.) By George Hamlin. Tenor {Harp aec.) By Leo Slezak, Tenor By Carlo Caffetto, Tenor [Piano aec.) It is sung behind the scenes, before the rise of the tain, making it peculiarly effective. At the close of the number Turiddu 's voice is heard dying away in the distance. This decrescendo passage is exquisitely sung by Caruso. This delightful serenade, one of the most popular of the Caruso records, is almost the only bright spot in Mascagni's passionate and tragic operatic melodrama. The best of the many translations (Schirmer Edition, copy't 1891) is given here. 'J'URIDDTI : O Lola, with thy lips like crimson berries, Eyes with the glow of love deepening in tliem. Cheeks of the hue of wild, hlossoming clierries, Fortunate he who first finds favor to win the in ; [In Italian) (In Italian) {In Italian) (In German) {In Italian) ^''62620 87072 81030 64387 61202 Yet tho' I died and beaming, Wert thou not ther should cherish! found llcav'n to greet me, ef I Fine renditions in German by Slezak and in Italian by Hamlin and Caffetto are also listed. Afte SCENE — A Square in a Sicilian Village the Siciliana the chorus of villagers is heard, also behind the scenes, and during this chorus the curtain rises, showing a square in the village, v/ith the church at one side and the cottage of Turiddu 's mother on the othe ' Douhle-Faojd Record ^ For lille of opposite side see double-faced list, page 66. TAMAGNO AS TURIDDU VICTOR BOOK OF THE O PE R A— C A VALLERI A RUSTICANA Gli aranci olezzano (Blossoms of Oranges) By New York Grand Opera Chorus (In Italian) 64048 10-inch, $1.00 By La Scala Chorus (In kalian) *68218 12-inch, 1.25 This beautiful chorus is rendered here both by the famous organization of La Scala, Milan, and the New York Grand Opera Chorus. It IS Easter Day and crowds of villagers cross the stage and enter the church. Santuzza enters, and knocking at Lucia's door, asks her if she has seen Turiddu. His mother replies that he is at Francofonte, but the jealous girl refuses to believe it, and suspects that he is watching for Lola. The cracking of a whip and shouts of the villagers announce Alfio, who appears and sings a merry song. II cavallo scalpita (Gayly Moves the Tramping Horse) By Pasquale Amato, Baritone (uoiih Metropolitan Opera Cho. ) (In Italian) 87097 10-inch $2.00 By Renzo Minolfi, Baritone (In Italian) *450O3 10-inch, 1.00 He is happy and free, his wife Lola loves him and guards his home while he is gone — this is the burden of his air. The peasants disperse and Atfio is left with Lucia and Santuzza. When he says he has just seen Turiddu, Lucia is surprised, but at a gesture from Santuzza she keeps silent. After Alfio has entered the church, the Easter music is heard within and all kneel and join in the singing. AMATO AS ALFIO Regina Coeli (Queen of the Heavens) By La Scala Chorus This great number, given by La Scala Chorus, h, chorus noted above on one double-faced record. All go into the church except Lucia and Santuzza, and the agitated girl now sin touching romanza, beginning: (In Italian) *68218 12-inch, $1.25 ls been combined with the opening ^ =g=£^= ^^^^ as she pours out her sad history to the sympathetic Mamma Lucia. This is one of the most powerful numbers in Mascagni's TA^ork. Voi lo sapete (W^ell You Kno^v, Good Mother) By Margarete Matzenauer, Soprano {In Italian) 88430 12~inch, $3.00 By Emma Calve, Soprano {In Italian) 88086 12-inch. 3.00 By Emma Eames, Soprano {In Italian) 88037 12-inch, 3.00 Stung with the remembrance of her great w^rong she sings of vengeance, but love over- powers revenge, and in spite of herself, she cries / lovtd him! I lavfd htm' Ahl . *Doable-FaceJo, No, Turiddu By Besalu and Ciccolini (Italian) ='=55022 This scene is now interrupted by Lola's voice, the scenes. 12-in.. 1.50 heard behind GADSKI AS SANTUZZA None like to him so bright That land discloses. My king of roses 1 — Lola (behind the scenes) : My king of roses, Radiant angels stand In Ileav'n in thousands; She enters, and divining the situation, shows her power by taking Turiddu into the church with her. Frantic with jealousy, Santuzza turns to Alfio, who now^ enters, and tells him that his wife is false. Two records are required to present this pov/erful scene. Turiddu mi tolse (Turiddu Forsakes Me !) By B. Besalii and E. Badini {In Italian) ^=55021 12-inch, $1.50 By Clara Joanna, Soprano, and Renzo Minolfi., Baritone [In Italian) *45002 10-inch, 1.00 Ad essi io non perdono CTis They \^ho Are Shameful) By Clara Joanna and Renzo Minolfi {In Italian) *45002 10-inch, $1.00 Alfio S'wears vengeance, "while San/uzzo already regrets her disclosure, but is po\verless to prevent the consequences of her revelation. They go out, leaving the stage empty, and the beautiful Inter- mezzo follows. Intermezzo By Victor Herbert's Orchestra 60074 10-in., $0.75 Pryor's Orchestra *62618 10-in., .75 Victor Orchestra 4184 10-in., .60 The instantaneous popularity of this selection was remarkable, and m no small measure helped santuzza pleading with turiddu— act i to make Caua/Zeria Kus^lcanathe tremendous success (destin'n and caruso) that it was. These records bring out the beautiful melody — the harp lending a lovely back- ground of peaceful harmony — and makes the Intermezzo a tone picture of exquisite coloring. * Doublc-Faced Record — For title of opposite side see double-faced list, page 66. 6i VICTOR BOOK OF THE OPERA— C AV ALLERI A RUSTICANA After the storm and passion of the first scene, this lovely number comes as a blessed relief. The curtain does not fall during the playing of the Intermezzo, although the stage is empty. PART II A casa, a casa (Now Home^vard) By La Scala Chorus (/n Italian) *45014 10-inch, tl.OO The services being over, the people nowr come from the church, and Turiddu in a reck- less mood invites the crowd to drink with him, and sings his spirited Bnndisi. Brindisi (Drinking Song) By Enrico Caruso. Tenor {In Italian) 81062 10-inch, $2.00 By George Hamlin. Tenor {In Italian) 64245 10-inch, 1.00 In striking contrast to the prevailing tragic tone of Mascagni's opera comes this merry drinking song, which Turiddu sings as gaily as if he had not a care in the world, although at that moment the culminating tragedy of the duel was close at hand. Turiddu calls to the crowd about the inn : then sings the Brindisi, which has a most fas- cinating swing: Turiddu: Hail the Tvd wine richly flowing. In the beaker, sparklinti, glowing. Like \'nuiig l^^■e, with smiles bestowing, N'(tw (.mr hiiliday 'twill bless. Hail the wine that flows and bubbles, Kills care, banishes all troubles. Brings peace, pleasure it redoubles, Causes sweet forgetfulnessl Alfio now^ enters, and when Turiddu offers .him a cup refuses, saying: Thank you! Poison I might be drinking. Turiddu throws out the v^^ine, saying carelessly: \'ery well I suit your pleasure! The seriousness of this scene is not lost on the peasants, who now leave the young men together. The challenge is quickly given and accepted after the Sicilian fashion, Turiddu viciously biting Alfio'' s ear, and they arrange to meet in the garden. Turiddu now calls his mother from the cottage, and asks for her blessing, bidding her, if he does not return, to be a mother to Santuzza. Addio alia madre (Turiddu's Farewell to His Mother) By Riccardo Martin, Tenor By Gennaro de Tura, Tenor By G. Ciccolini. Tenor By Giorgio Malesci, Tenor {Piano ace.) Turiddu (calling): .Mother ! (liiitcr Litem. ) Exciting surely that wine was. I must Iiave taken Too many cups ^\'hiIe we were drinking! For a stroll I am going, Hut first, I [iray you. Give your son your blessing As wlien I left you To become a soldier ! If I return not, you must not falter 12-inch, *3.00 12-inch, 2,00 12-inch, 1.50 10-inch, .75 {In Italian) 882 77 {In Italian) 76015 {In Italian) *55021 {In Italian) *62620 To Santuzza be a mother! I have sworn to shield her And lead her to the altar. Lucia: Why speakest thou so strangely? My son, oh. tell me ? Turiddu ( uoiichalantly) : Oh, nothing! the wine Has filled my brain with vapors! O pray that God forgive me! One kiss, dear mother I And yet another! {He riishcs off.) Finale to the Opera By Clara Joanna, Soprano; Sra. Rumbelli, Mezzo-Soprano ; and Chorus (In Italian) *45003 10-inch, $1.00 Lucia is distressed and bewildered, and calls after him despairingly. Confused cries are now heard and a woman screams " Turiddu is murdered 1 " Santuzza and Lucia sink down senseless, and the curtain slowly falls. * Douhk'Faced Record — For title of opposite side see double-faced list, page 66. 65 VICTOR BOOK OF THE OPERA— CAVALLERI A RUSTICANA DOUBLE-FACED AND MISCELLANEOUS CAVALLERIA Selection — Part I By Victor Orchestra 31057 Selection — Part II By Victor Orchestra 31058 Gems from " Cavalleria Rusticana" "Blossoms of Oranges" — "Alfio's Song" — Lola's Ditty, "My King — " Santuzza's Aria " — " Drinking Song " — " Easter Chorus " By Victor Opera Company {In English) (Turiddu, mi tolse (Turiddu Forsakes Me !) By I B. Besalii, Soprano, and E. Badini, Baritone {In Ilatian) I Mamma, quel vino e generoso (Mother ! the AVine [ Cup too Freely Passes) By G. Coccolini, Tenor {In Italian) jTu qui Santuzza (Thou, Santuzza) By Besalii and Ciccolini 1 No, No, Turiddu By Besalii and Ciccolini {In Italian) (Prelude By La Scala Orchestra iSelection ("Alfio'sSong," "Easter Chorale," "Intermezzo") pryor's B jCoro d' Introduzione By La Scala Chorus (In ltalian)\ (Regina Coeli By La Scala Chorus {Turiddu, mi tolse Tonore (Turiddu Forsakes Me!) By Clara Joanna and Renzo Minolfi Ad essi io non perdono — By Joanna and Minolfi I Finale dell' Opera — By Clara Joanna, Soprano; Sra, | I Rumbelli, Mezzo-Soprano; and La Scala Chorus {In //a/ian) UsOOS III cavallo scalpita By Renzo Minolfi, Baritone {In Italian) \ JA casa, a casa (Now Homeward !) La Scala Chorus (^'a/(an)i ., . I Guglielmo Ratcliff— Padre Nostra Mussini and Molinari {Italian)r * (Intermezzo By Pryor's Orchestral < Carmen — Toreador {Bizet) 62618 I By Cigada, Huguei, Salvador and Chorus {In Italian) | J Addio alia madre (P/ano ace.) By Giorgio Malesci, Tenor), , ISiciliana {Piano ace.) By Carlo Caffetto, Tenor'"^"^" RECORDS 12-inch, $1.00 12-inch, 1.00 of Roses " 31874 12-inch, 1.00 55021 12-inch, 1.50 {In Italian) 55022 35104 68218 {In Italian) 45002 {In Italian) \ 12-inch, 1.50 12-inch, 1.25 12-inch, 1.25 10-inch, 1.00 10- inch, 1.00 10-inch. 1.00 10-inch, .75 10- inch, .75 Caruso Tnscanini "DLslinn nntli-C'izza/.T Martin llnllirr A REHEARSAL OF CAVALLERIA A [■ TILL M EIROPo LI TA N OLLRA HOUSE, NEW YORK 66 (French) LES CLOCHES DE CORNEVILLE (English) THE CHIMES OF NORMANDY COMIC OPERA IN THREE ACTS Text by Clairville and Gabet ; music by Robert Planquette. First produced at the Folies Dramaliques, Paris, April 19, 1877. First N. Y. production at the 5th Avenue Theatre, 1877. Characters Henri, the Marquis of Valleroi Baritone GRENICHEUX, a young villager Tenor GASPARD, a miser Bass SERPOLETTE, the good-for-nothing Soprano GERMAINE, the lost Marchioness Mezzo-Soprano Sheriff Bass Time and Place : Normandy ; time of Louis XV. The Chimes of Normandy abounds in striking numbers, and the music is full of gayety and French grace. It has had no less than six thousand performances, a testimony to its enduring place in popular appreciation. The opera opens in an old Norman village, where a fair is in progress. Henri, the Marquis of Valleroi, has just returned to his native town after an absence of many years. The ROBERT PLANQUETTE villsge gossips are discussing with vehemence scandals about Serpolette, the village good-for-nothing, v^^ho arrives just in time to vindicate herself by turning the tables on her traducers. Gaspard, the miser, has a plan for marrying his niece, Germaine, to the sheriff, but the young girl objects, telling him that if she must wed she feels it her duty to marry Grenicbeux, a young villager, in gratitude for his saving her life. To escape the marriage, which is distasteful to both Germaine and Grenicheux, and to fly from the vengeance of Gaspard s^nd the sheriff, she and Grenicheux take advantage of the privileges of fair time and become servants of the Marquis. In the second act the ghosts are reported to be roaming the Castle of Valleroi, The Marquis does not credit these stories and soon discovers it is only old Gaspard, the miser, who, when found out, goes crazy through fear of losing the treasures he has concealed there. In the last act the castle is restored to its former splendor and the Marquis is giving a fete to which he invites all the villagers, including the crazy Gaspard. Serpolette is there as a fine lady with Grenicheux as her factotum. After a love scene between the Marquis and Germaine, it is discovered that the latter is the rightful heiress and true claimant to the title of Marchioness. The story comes to a fitting conclusion with the betrothal of the Marquis and Germaine, over whom the bells of Corneville ring out sweetly and gladly to tell the happy news. The Victor offers three band records of the principal airs, and an unusually effective selection of five of the most popular numbers in the opera by the Victor Light Opera Company. Gems from " Chimes of Normandy " Chorus, "Silent Heroes" — "Just Look at This, Just Look at That" — "Cold Sweat is on My Brow" — "That Night I'll Ne'er Forget" — "Bell Chorus"- -Finale. By the Victor Light Opera Company 31788 12-inch, $1.00 Selection of the Principal Airs By Sousa's Band 31 180 /Selection of the Principal Airs \ Naila Intermezzo (Pas des Fleurs) fSelection of the Principal Airs \ Poet and Peasant Overture ( oon Suppe) By Sousa's Band) By Pryor's Band I By Pryor's Band) By Pryor's Bandf 35134 16385 12-inch, 12-inch, 12-inch, 1 00 1.25 .75 67 NATION OF FAUST FOURTH SCENE PARTS OP^RA (French) LA DAMNATION DE FAUST {Lah Dan-nah-see-on' deh Fowst) DAMNATION OF FAUST Hector Berlioz's dramatic legend in four parts; book based on de Nerval's version of Goethe's poem, partly by Gandonniere, but completed by Berlioz himself. First performed December 6, 1846, at the Op^ra Comique, Paris, in concert form, and m New York under Dr. Leopold Damrosch in 1880. It was given at Monte Carlo as an opera in !903. First American performance of the operatic version in New^ York, 1908. Cast Marguerite {Mahr^guer^ei') ' Soprano Faust (Fowst) Tenor MEPHISTOPHELES (Mef-iss-lo/^Ueez) Baritone or Bass BRANDER Bass Place : A German village. THE COMPOSER No one to-day doubts the genius of Berlioz, and critics are almost unanimous in praising his originality, his spontaneous force and immense creative power. Le Damnation de Faust, his best known work, originally written as an oratorio, but which has since been adapted for the stage, w^as first produced in 1846 and met with a cold reception. Ten years after his death, how^ever, vv'hat a change began ! A Berlioz memorial in Paris, at the Hippodrome, w^here thousands w^ere turned av^'ay ; Berlioz monuments erected in Grenoble and other cities of France ; and finally, the production of Damnation of Faust as an opera at Monte Carlo in 1903, amid scenes of the w^ildest enthusiasm. VICTOR BOOK OF THE O P E R A — B E RL I O Z ' S FAUST Bi:r-:R CI^LLAR IN LEIPSIC ACT II In his " Faust " Berlioz has given us a musical legend which has all the picturesqueness of the original work. Whatever severe critics may say of its merits in the highest artistic sense, it is nevertheless a -wonderful work. Strange eccentricities and rare beauties are found side by side ; even the wild orgie of fiends called *' Pandemonium, " vi^hich almost transgresses the license of genius, must be admired for its astound- ing orchestral effects. On the other hand, there are melodies of purest beauty, such as the numbers for Marguerite. How- ever, the most striking numbers in the opera are those written by Berlioz for Mephislopheles. three of which have been most effectively rendered for the Victor by Plan^on. THE OPERA Berhoz, disregarding Goethe's poem, located the opening scene on a plain in Hungary simply to excuse the interpolation of the Rakoczy March. We quote Berlioz himself here: "The march on the Hungarian Rakoczy theme, written one night at Vienna, made such a sensation at Pesth that 1 introduced it into my Faust score, taking the liberty of putting my hero m Hungary and making him witness the passage of a Hungarian troop across the plain where he is wandering in reverie." But Raoul Gunsbourg, who adapted the cantata for the stage, changed the first scene to a room with open windows showing the peasants dancing and the military passing by to the strains of the Hungarian March. Here Faust soUloquizes on the vanity of all things, while the people make merry outside, and the march of the soldiers makes an inspiring finish to the scene. Hungarian (Rakoczy) March BySousa'sBand ( Double-faced, seep. 71 ) 68052 12-in., $1.25 By Sousa's Band 31424 12-in., 1.00 This is Berlioz's treatment of the famous "Rakoczy March," known as a national Hungarian melody for a hundred years. Its stirring measures so fascinated the composer that, contrary to his original intention, he laid the scene of his " Faust " legend in Hungary in order that he might make use of this wild and pulse-quickening melody. His treatment of it is brilliant in the extrenie, and it remains one of the most effective portions of his " Faust. In this connection it is interesting to remember that Liszt, although a warm friend of Berlioz, considered himself aggrieved and wrote to Mme. Tardieu in 1882: "My transcription of the Rakoczy March * * * is twice as long as the well-known version of Berlioz, and it was written before his. Delicate sentiments of friendship for the illustrious Frenchman induced me to withhold it from publication until after his death. * * * In writing it he made use of one of my earlier transcriptions, particularly in the harmony." • l /-^ j Scene II shows Faust alone in his study, as in the Gounod version. He is about to take poison, when the strains of the Easter hymn come from the adjoining church and arrest his purpose. Mephistopheles then appears and suggests that they go forth and see the world together, to which Faust consents. In the third scene Faust and Mephislopheles go to a beer cellar in Leipsic, where students and soldiers are carousing. Brander sings his song of the rat, which as in the Gounod opera, meets with «9 RENAUD S CEPTION STRIKING OF MEPHI VICTOR BOOK OF THE O P E R A — B E R L I O Z ' S FAUST but ironical praise from Mephistopheles, and he volunteers his famous " Romance of the Flea, " a curiosity of music as effective as it is difficult to render. Chanson de la puce (Song of the Flea) By Pol Plan9on, Bass [In French) 81087 10-inch, $2.00 Gounod's Mephistopheles is mild and innocent by the side of the strange utterances of the Devil as portrayed by Berlioz. This is one of the most interesting numbers in the v/ork, for Berlioz has described, by means of clever forms in the accompaniment, the skipping of the flea in various directions. The words are most fantastic — Once a king, tit it notfd, hail a fine anil lusty flea, And on this flea he dutcd, cherish'd him tenderly. So he sent for his tailor, and to the tailor sjjake: "Please to measure this youngster, and coat and hreeches make I" In velvet and in satin He now was duly drest Had jewels rare liis hat in. And medals deck'd his hreast! Faust dislikes the scene, and the two vanish from the gaze of the astonished students amid a fiery glow. Voici des roses ('Mid Banks of Roses) By Mattio Battistini, Baritone {In Italian) 92023 12-inch. $3.00 ^--^'^^w. We next discover Faust asleep in a lonely forest on the banks of the Elbe, where the demon murmurs a softly penetrating melody into his ear, lulling him to slumber with these seductive words — "Mid hanks of roses, softly the light reposes. On this fair, fragrant bed. rest, O Faust, rest thy head- Hei-e slumher. while lo\'ely visions haunt thy dream Of radiant forms, rare lips and eyes that fondly beam! while the gnomes and sylphs dance through his dreams, and the vision of Marguerite is seen for the first time. The next scene corresponds to the Garden Scene of Gounod, and shows a room in Marguerite's cottage. msphibt b^. The demon now^ sum- .... .. -T; j^:f^^^-^^ --?!?— ^■.— mons the w^ill - o'- the- l'* ** '''^'' I ' { [t* j— | -^-l^^^ V/ispS in this evocation: Ve .pir ltBorinH:or»tani art, Hiil ™ h=T^. ODibewingsol .Irl The sprites come flying to Marguerite's door to aid in her enchantment, and the demon continues : Ve spirits of caprice and nf evil, conspire 'I (I enchant and subdue, and win a maiden soul. N;>w rlance, ye son-; of P^vil, dance in the name of the devil, W ill-u'-tlie-wisp and gnome, dance, or away you go 1 Then follows the beautiful dance of the will-o'-the-wIsps, after which Mephistopheles sings— "T(. this lute. ]'ll sing a serenade One that shall please the lady .... It is moral, her tastes to suit I" Serenade — Mephistopheles By Pol Plan^on, Bass (/n French) 81034 10-inch. *2.00 Mephistopheles then warbles in his scoffing voice this mockmg serenade : in the accompaniment of which Berlioz has reproduced the peculiar effect of the guitar by pizzicato crescendos for strings. 70 VICTOR BOOK OF THE O P E R A — B E R L I O Z 'S FAUST Mephistopheles: Dear Katherinc, why to the door of thy lover, Drawest thou nigh? Why there timidly hover? why art there? Oh, sweet inaiden, heware; come away do not enter; It were folly to venture. Refrain, nor enter there! Ah, heed thee well, fair lass. Lest thy lover betray thee ; Then good night, alas! From ill-hap what shall stay ihee? But let thy lover prove the truth of his advances; When the ring brightly glances. Ah ! then only, believe his love! Berlioz's Mephistopheles is a much more sardonic and less gentlemanly devil than the one we are accustomed to see in Gounod's opera. Plan^on interprets this difficult character admirably, and delivers this sneering serenade with great effectiveness. While the sprites dance Marguerite apparently sleeps, but soon comes from the house in a kind of trance. She tries to enter the church, but the influence of Mephistopheles prevents, and she returns to the house and falls into the arms of Faust. The last act contains four scenes. Scene I shows a moonlit room w^here the unhappy Marguerite sings her lament. This changes to a rocky pass where Mephistopheles informs Faust that Marguerite is about to be executed for the murder of her mother. Faust demands that she be saved, but is first required by Mephistopheles to sign the fatal contract which pledges his soul to the Devil. Summoning the infernal steeds Vortex and Giaour, the w^ild Ride to Hell commences, shown by a striking moving panorama, while at the close the angels are seen hovering above the town to rescue the soul of the pardoned Marguerite. FOURTH ACT SETTING DAMNATION OF FAUST /Hung^arian March \ Carmen — Prelude DOUBLE-FACED DAMNATION OF FAUST RECORDS By Sousa's Band\ By La Scala Orchestra} 68052 12 $1.25 /^ ^L^ -^4 A". ■*¥iiil4.^ ^ Jv..i.4^^^: IF m ^^BH^^BBfl^^H^firffiggsr' ^^^^^^^^^^^Hm -.: •'■■>. '^^ n UMPlri^ L- ' -:^y ■ '^^^^■^^^^f '-H^'- L «BT DU ThEItBI THE RIDE TO HELL ACT V DAUGHTER OF " THE REGIMENT (French) LA FILLE DU REGIMENT {Lah Fee\>eh deh Rezh' -ee-mong ) COMIC OPERA IN TWO ACTS Words by Bayard and St. Georges. Music by Donizetti. First produced at the Opera Comique, Paris, 1840; Berlin, J 842; London, 1847. Characters TONIO, a peasant of Tyrol Tenor SULPIZIO, Sergeant of the 21st Bass Marie. Vivandiere of the 21st Soprano Marchioness of Berkenfield Mezzo-Soprano The scene is laid in the Swiss Tyrol, Donizetti's Daughter is a brilliant little opera, with its rollicking songs, its drums, its vivacious heroine and its comic old Corporal. At the beginning of the opera Marie is a beautiful girl of 17, who had been found on the battlefield as an infant, and brought up by Sulpizio as the daughter of the regiment. Marie is loved by Tonio, a young peasant, who had saved her life in the Alps and who follows the regiment to be near her. The young girl returns his affec- tion, and they decide to appeal to Sulpizio. In asking for Marie's hand in marriage Tonio' s suit is brought before the regiment, w^hich decides that he may have the Vivandiere providing he joins the army, which he promptly does. Sulpizio meets the Marchioness of Berime n- field and gives her a letter w^hich he had found addressed to her at the time / the baby Marie w^as found on the battlefield. The Marchioness, who had / sj^ married a French army captain far beneath her own rank, immediately rec- ( -'^^»'^ ognizes the young girl as her daughter. The marriage had been a secret i ' one and the child was confided to her father's care at her birth. Not wishing to acknowledge this marriage even now, the Marchioness declares Marie to be her niece, and dismisses Tonio as a totally unfit person to w^ed L a high-born maiden. Marie assumes her proper position in society, her & "aunt" selecting a w^ealthy Count as a future husband for her. Hov/ever, ^\ in the midst of all her beautiful surroundings Marie continues to long for \ her sweetheart Tonio. Her mother, still pretending to be her aunt, endeav- ors to persuade her to give up Tonio and marry the Count, but Marie flatly refuses. In desperation the Marchioness reveals herself as the girl's own mother, and the maiden then agrees to accede to her v/ishes and marry the Count. Touched by Marie's filial devotion, the Marchioness consents to allow^ her to marry Tonio, who in the meantime, through rapid promotion, has reached a high rank in the French army under Napoleon. The Victor offers three records from this charming opera ; the first being the tuneful Per vicer oicino, the song of the lover Tonio. Mr. McCormack gives a spirited performance of this delightful Romanza. Two splendid band records are also offered— a Pryor's Band rendition of the gay and co'"''' 'o^ev spirited Overture and a Vessella Band record of the principal airs in the opera, f^u cuKNtACK as TONIO Per viver vicino (To Be Near Her) By John McCormack, Tenor {In Italian) 74221 12-inch, $1.50 DOUBLE-FACED DAUGHTER OF THE REGIMENT RECORDS /Overture By Pryor's Band\„-^.- -^ . . ^, ^- \ Dance of the Serpents (Boccalari) By Pryor's Bandf-^^^^^ 12-mch, $1.25 /Principal Airs of the Opera By Vessella's Bandl„- i -^ ■ i. \ Fra Diavolo Selection {Auber) By Vessella's Bandr^^^^ 12-inch, 1.25 72 DINORAH (Din-oh' -rah) OPERA IN THREE ACTS Libretto by Barbier and Carre. Music by Giacomo Meyerbeer. First production Paris, 1859. First London production, under direction of Meyerbeer. July 26. 1859. First New York production. Opera Comique, 1864, with Cordier, Brignoli and Amodio. Cast HOEL, a goatherd Bass CORENTINO, bag-piper ' ." .' ......'.'."'.'...'..'. . .Tenor DiNORAH, betrothed to Hoel Soprano HUNTSMAN Bass Place : Breton village of Ploermel. Although the name of Meyerbeer is usually as- sociated with Robert le Diable, Prophete and Huguenots, his opera, Pardon de P/oe>me/ (afterwards revised and renamed Dinorah), w^as at one time a favorite v^ork w^ith opera-lovers. The revival of Meyerbeer's sparkling opera during the last Manhattan season w^as most welcome, not only for its tunefulness, but because it w^as an ideal medium for the exhibition of Mme. Tetrazzini's marvelous gifts. Old opera- goers in America v/ill remember the productions of the past^that arranged for Marie Van Zandt in 1892 ; Patti's famous performance a dozen years before ; and the fine impersonations of Gerster, di Murska and Marimon. But it is safe to say that no ej'iponent of the part of the wandering Breton shepherd- ess has ever excelled Mme. Tetrazzini in the role. The plot is utterly absurd — its demented goat-girl, seeking a runaw^ay lover; the lover himself, who con- trary to operatic precedent is a baritone, and w^ho spends a year chasing an imaginary treasure; a weak- kneed bag-piper. These are the principal characters. But in the music Meyerbeer has atoned for the triviality of the libretto, and the audience listens to the delightful melodies and pays little attention to the plot. The action is laid in Brittany. Dinorah, a maiden of the village of Ploermel, is about to be wedded to Hoel, a goat-herd, when a storm destroys the house of the bride's father. Hoel resolves to rebuild it. and goes off to seek treasure m a haunted region, v/hile Dinorah, thinking herself deserted, loses her reason, and wanders through the country with her faithful goat, seeking the absent Hoel. Overture By La Scala Orchestra 68010 12-mch, $1.25 ACT I As the curtain rises. Dinorah enters in her bridal dress, seeking her goat, and finding the animal asleep, sings this lullaby to him. So lovely an air is worthy of a better object. Si, carina caprettina (Yes, My Beloved One) By Giuseppina Huguet. Soprano {In Italian) *35180 12-inch, $1.25 Mme. Huguet has sung this pretty air with charming fluency, and the record is one of the most attractive in her list. The translation follows: Slumber, darling, sweetly slumber, Perchance she has wandered on the hills Sleep, my belov'd one, sleep! Amid the thornsi Soft the evening bi'eeze is playing, -Mil wei't thou to be seized by the wolf — fear not! 'Neath the cooli'ng shadows here I will be there to defend thee — fear not! Flows a streamlet, fresh and clear, Ves, darling sleep in i)eace, Swift, among the flowers straying. Sweet little birds your warbling cease, Alas! six days has she been away, My beauteous one must sleep. Nor yet returns I Awake her not I Yet softer still 1 * Double-Faced Record^ On opposite side is the Mad Scene from Hamlet, by Mme. Huguet 73 FAURE AS HOEL, 1859 VICTOR BOOK OF THE O PE R A— M E Y E RB E E R'S DINORAH Coreniino, a bag-piper, enters and is terrified at the sight of Dinorah, believing her to be an evil fairy about whom he had heard, who causes the runaway traveler to dance till he dies. Dinorah, in a spirit of mischief, makes him dance until he is exhausted, and runs aw^ay laughing. Hoel enters, still seeking the treasure, and confides in Corentino, telling him that the wizard with whom he had lived for a year had instructed him to seek for a white goat which would guide him to the gold. The bell of Dinorah's goat is heard, and Hoel pursues it, dragging with him the terrified Corentino. ACT II The second act begins with the famous shadow dance, for which Meyerbeer has furnished some most beautiful music. Dinorah enters, and seeing her shadow in the moonlight, imagines it is a friend and sings and dances to it. Ombra leggiera (Shado\v Song) By LuisaTetrazzini. Soprano 88298 12-inch, $3.00 By Maria Galvany, Soprano 88222 12-inch, 3.00 Light Hitting sliadow, companion gay (Jo nut away I Play ln-Te bcsidt; mc, dark fears betide me When thou dost go far from me! Ah: go not away, go not away I Each coming morn 1 tliee would find, Ah prithee stay and dance with me! If tliou wilt stay, nor go away, Thou thus shalt hear me sing. Know'st thou not that Hoel loves me? That as his bride he claims nie ! Love well hath known Our two hearts to unite! (.■=} cloud passes over the moon — the shadow disafpcars.) This dance is accompanied by a waltz, which is full of the most brilliant vocal effects, including a florid cadenza for voice and flute, as in Lucia. The act closes w^ith the rescue of Dinorah by Hoel when the bridge, on w^hich she was crossing a ravine, gives away. ACT in Act III opens with the famous "Hunter's Song," long a favorite concert number. Chant du Chasseur (Hunter's Song) By Pol Plan^on, Bass (Piano ace. ) (In French) 81065 10-inch, $2.00 TETRAZZIN'I AS DINQRAH On, on to the bunt I To follow the trace of beast or bird. Tlie day is awake. The mist from the lake Rising, passes over, Hoel enters, bearing the form of Dinorah, bitterly reproaches himself in the great air, Sei vendicala The fresh morning breeze Plays light in the trees, IJke a young, a young and happy loverl Hunting is jolly, when night is ovei". vho is still senseless. Thinking her dead, he HoiiL; 'Twas on this sclf-sanic syiot — a year ago When from the tempest an a.^yluin niy Dinorah sought ; Within these arms I pressed ber; and now! Dead! — ahl heaven. 111 not believe it yet! Look up again, dear angel, thy i>ardon I im- plore ! (He aii.viouslv zvatchcs Dinorah. who gradu- allv rccorrrs. ) Great heaven! my pray'r hath risen unto thee! "V'es! she breathes again ; her eyes she o])ens! F.ut why thus fixedly they gaze upon me? O heaven. I barl fnrgotti'ii That grief of reason had bereft her! Dinorah now opens her eyes and recognizes Hoel, her reason having been restored by the shock. The reunited lovers go to the village, are greeted by their friends, and the curtain falls on preparations for the wedding. SCENE FRi:>M DO DON CARLOS (Don Kahr'-los) OPERA IN FOUR ACTS Libretto by Mery and Du Locle ; music by Verdi. First produced at Paris, March II, 1867; in London, at Her Majesty's Theatre, June 4, 1867. Original Paris Cast PHIUP II Obin, Bass Don Carlos Morere. Tenor Marquis DE POSA Faure, BarUone Grand inquisitor Belval, Bass EUZABETH DE VALOIS Sass, Soprano Princess EPOLI Gueymard, Soprano The libretto is based on Schiller's drama of Don Carlos, and tells of the erratic and morbid son of Philip II of Spain, "who ^vas engaged to Elizabeth of France, but subsequently became her stepson. The conduct of Don Carlos finally became so scandalous that his father placed him under arrest and confined him in the Madrid prison, where he died in 1568, at the age of twenty-three. The same plot had previously been used by Bona, Milan, 1847; Costa, London, 1844; Moscuzza, Naples, 1862; and also by Ferrari. Don Carlos is not one of Verdi's popular operas, but the music is dramatic, effective and full of genuine Italian -warmth and passion. Schiller's drama has been much changed, and made to conforna to the dramatic requirements of the stage and the music. 75 VICTOR BOOK OF THE OPERA— VERDTS DON CARLOS Don Carlos, son of Philip II of Spain, is in love with Elizabeth of Valois, daughter of the French King, Henry II. For state reasons, however, Henry has arranged that his daughter shall marry King Philip, and accordingly the royal ceremony takes place. The passion w^hich Carlos feels for his young stepmother is as intense as ever, and he confides in Rodrigo, Marquis of Posa, w^ho entreats the Prince to leave the Spanish Court in the hope that he will forget his love. Carlos begs the Queen to obtain Philip's permission for him to jom the Flemings in their struggle against the cruelties of the Spaniards. Time seems to have but strengthened the mutual affection of the pair, and the Queen is unable to conceal from Carlos the fact that her love for him is greater than ever. Princess Eboli, who is herself in love with Carlos, learns of the Queen s affection for the Prince. Her jealousy is aroused and she tells all to Philip. This maddens the King, who is already angry w^ith his son for his sympathy v/ith the Flemings, and, on the advice of the Grand Inquisitor, Rodrigo visits the Prince there, and is shot by friends of the helping the Flemings. Carlos is freed and goes to St. Just Monastery to keep a tryst with Elizabeth. The King surprises them there, and his anger being once more aroused, he hands over Carlos to the Officers of the Inquisition, who bear him away to his death as the curtain falls. FAURE AS DON CARLOS Carlos is throw^n into prison. King, v/ho suspect him of O don fatale (Oh, Fatal Gift!) By Janet Spencer, Soprano (In Italian) Dio che neir alma (God in My Soul) By Enrico Caruso and Antonio Scotti (In Italian) Per me giunto e il di supremo (The Supreme Day) By Titta Ruffo, Baritone (In Italian) 92038 12-inch, 3.00 74253 12-inch, $1.50 89064 12-inch, 4.00 DOUBLE-FACED DON CARLOS RECORD By Sousa's Bandl (Grand March \ Tannhauser — Pilgrims' Chorus (IVagner) Victor Brass Quartetf 17133 10-inch, $0.75 (Italian) DON GIOVANNI {Don /oh-vahn' -nee) (French) DON JUAN (Don Huahn) OPERA IN TWO ACTS Libretto by Lorenzo da Ponte. Music by Wolfgang Amadeus Mozart. First produced at Prague, October 29, 1 787, and at Vienna, May 7, 1 788. First London production April 12, 1817; produced in New York May 29, 1826. Some notable revivals occurred in 1898 with Sembrich, Nordica, Eames and Planijon, and in 1909 with Russ, Donalda, Bonci and Renaud. Cast Don Giovanni, a licentious young nobleman Baritone Don OCTAVIO, (Oct-tah' -vee-oh) betrothed to Donna Anna Tenor LEPORELLO, [Lefj-oh-rti' -low) servant of Don Giovanni Bass Don Pedro, (Paydro) the Commandant Bass Donna anna, his daughter Soprano MASETTO, [Mas-set' -to) a peasant Bass ZERLINA, iZer-ke' -nah) betrothed to Masetto Soprano Don Elvira, a lady of Burgos Soprano Peasants, Musicians, Dancers, Demons. Scene and Period : Seville, in the middle of the seoenteenth century- Mozart's Don Giovanni v^^as w^ritten in 1787 and produced during the same year at Prague. Da Ponte, the librettist, was a Viennese Court dramatist, who had also written Le Nozze di Figaro. The plot of the opera was probably founded upon a play entitled El Burlador de Seoilla ij Convlrada de pledrOy attributed to Tirso de Molina, a Spanish monk and prior of a monastery at Madrid. This had also served as a basis for numerous other " Don Juan " plays and operas by Fabrizzi, Gardi, Raimondi, Carnicer and latterly Dargo- myszky, the Russian composer. ACT I SCENE 1 — The Courtyard of the Commandant's Palace at Seville. It Is Night The wicked Don Giovanni, ever pursuing his gay conquests, attempts to enter Donno yJnna's apartments. She cries for help and he tries to escape, but is pursued by the angry girl, who endeavors to penetrate his dis- guise. Her father comes to the rescue and is mortally wounded by the Don, who makes his escape, followed by Leporello, his servant. Donna Anna is overcome with grief, and charges her betrothed, Don Oclavlo, to avenge her father's death. SCENE U—An Inn in a Deserted Spot Outside Seville Don Giovanni and Leporello enter and conceal them- selves as a lady approaches in a carriage. Hoping for a new conquest, the Don comes forward, hat in hand, but is surprised to find that it is Donna Elvira, a young woman whom he has lately deceived and deserted. She denounces him for his baseness and he makes his escape, leaving Leporello to explain as best he can. Leporello rather enjoys the situation, produces his diary and adds to the lady's anger by reading a list of the mistresses of the Don. This list is recited by Leporello in the famous // catalogo. SCUTTl .*.S IJON GIOVANNI VICTOR BOOK OF THE OPERA — MOZART'S DON GIOVANNI Madatnina, il catalogo (Gentle Lady, this List) By Marcel Journet, Bass (In Italian) 64150 10-inch, $1.00 By Arcangelo Rossi, (Double-faced— See page 81) (Italian) 62623 10-inch, .75 Nella bionda (The Fair One) By Marcel Journet, Bass (In Italian) 74191 12-inch, ♦!. 50 Lephrello : Ev'ry country, ev'ry township, fully confesses Those of the sex whom to his rank he presses, (lentle lady, this my catalogue numbers All whose charms lent my master beguiling. 'Tis a document of my compiling. An it please yc, j)eruse it with me. In Italia, — six hundred anil forty: Then in (Germany, — double fifty seem plenty; \\'hile in old .Spain here. — we count thousands three! Some you see are country flainsels, Waiting-maids and city ma'aniselles, Countess', duchess', baronesses. \'iscount' — ev'ry kind of 'esses. Womenfolk of all conditions. Ev'ry foriu and ev'ry state! Journet's Leporello is a unique performance of its kind, and his characterization always stands forth as an admirable foil to the polished villainies of the suave and distinguished Don. This great buffo number, usually called the Catalogue Song, is full of the broadest humor, and is given by this artist with all the sly humor, gaiety, irony and sentiment which it requires. Donna Eloira is horrified and drives off, swearing vengeance. SCENE III— /n the Suburbs of Seoille. Don Giovanni s Palace Visible on the Right A rustic wedding party comprising Zerlina, Masetto and a company of peasants are enjoy, ing an outing. Don Giovanni and Leporello appear, and the Don is charmed at the sight of so much youthful beauty. He bids Leporello conduct the party to his palace and give them re- freshments, contriving, however, to detain Zerlina. Masetto protests, but the Don points significantly to his sword and the bridegroom follows the peasants. The Don then proceeds to flatter the young girl and tells her she is too beautiful for such a clown as Masetto. She is impressed and coquettes with him in the melodious duet. La ci darem, the witty phrases and delicate harmonies of which make it one of the gems of Mozart's opera. La ci darem la mano (Thy Little Hand, Love !) By Geraldine Farrar, Soprano, and Antonio Scotti, Baritone (In Italian) 89015 12-inch, $4.00 By Emma Eames, Soprano, and Emilio de Gogorza, Baritone (In Italian) 89005 12-inch, 4.00 By Graziella Pareto, Soprano, and Titta Rufifo, Baritone (In Italian) 92505 12-inch, 4.00 By Mattia Battistini, Baritone, and Emilia Corsi, Soprano ...oyk, iohdo. (In Italian-: 92024 12-inch, 3.00 n.llsen as zerlina LEPORELLO VICTOR BOOK OF THE OPERA — MOZART^S DON GIOVANNI This celebrated number, which has been sung by many famous artists during the one hundred and twenty years since its first hearing, is one of the best examples of the many spark- ling concerted numbers which Mozart has written. Always interesting, it is wholly delightful when sung by such artists as those who have rendered it for the Victor. Not less than four versions, by famous exponents of the characters of Zerlina and Don Giovanni, are presented here. Don Giovanni: Nay, bid me not resign, love, coldly the hand 1 press. Oh 1 say thou wilt be mine, love, breatiic but tliat one word "yes." Zerlina : I would and yet I would not. I feel my heart misgive. Shouldst thou prove false, I could not, become thy scorn and live. Don GifiVANNi: Come then, oh come then, dearest. Zerlina : Vet should thy fondness alter. Don Giovanni : Nay, love, in vain thou fcarest. Both : Yes, hand and heart uniting, each other's cause requiting. Our joy no bounds shall know I Miss Farrar's Zerlina is a dainty and fascinating character, and she sings the music brilliantly. It is hardly necessary to say anything about Scotti's Don Giovanni, as it is quite familiar to opera-goers, ranking among his best impersonations. The rendition by Mme. Eames and Mr. de Gogorza is a most delight- ful one, while two other records by famous European artists are also offered. Giovanni is about to lead Zerlina away, w^hen Donna Elvira, who has been watching, rescues the young girl and carries her off, to the chagrin of the Don. Donna Anna now enters with Octavio, who asks the help of his friend Don Giovanni in tracing the murderer of Donna Anna's father. The Don assures them of his devotion, and goes to his palace, v^^hile Donna Anna tells her lover that she recognizes by his voice that Don Qiovanni is the one w^ho slew her father. They depart, and Leporello and the Don enter. The serv- ant tells his master that w^hen Donna Elvira and Zerlina arrived at the palace, and Elvira attempted to tell the peasants the truth about the Don, he led her gently out- side the gate and then locked it. He is complimented by his master, who bids him prepare for the feast of the evening. Left alone, the gay Don sings his brilliant Drinking Song, famous in every land. The scene changes to Don Giovanni's garden. Zerlina is endeavoring to make her peace with Masetto, but he is sulky. She then sings her lovely Baiti, baiH. Batti, batti, o bel Masetto (Scold Me, dear Masetto) By Marcella Sembrich, Soprano {In Italian) 88026 12-inch, $3.00 ^ This gentle number is in striking contrast to the brilliant writing in the lighter bits of Zerlina' s music. JEAN DE RESZKE AS DON GIO- VANNI. HIS DEBUT AS A BARITONE (LONDON, 1875) Chide mc, dear JMasetto, Cliide Zerlina at your will; Like the patient lamb I'll suffer. Meek and mute and lovinp still. Ah! I see, love, you're relenting. Pardon, kneeling, I implore! PHOTO BERGER ABOTT AND RENAUD AS ZERLIN DON GIOVANNI Ni)jht and day, to thee, devoted, Here 1 vow to err no more. VICTOR BOOK OF THE OPERA — MOZART'S DON GIOVANNI Maselto is only half appeased, but goes in to dance with his bride. Donna Anna, Donna Eloira and Don Octaoto, disguised and masked, enter and sing a trio, in which they pledge them- selves to have revenge on the traitor. The scene changes to the interior of the palace, where the ball is in progress. Don Giovanni continues his efforts to get Zerlina aw^ay from her jealous and v/atchful lover, and finally succeeds, but Zerlina calls for help and Maselto and the three conspirators rush to her assistance. They denounce Don Giovanni, who defies them w^ith drawn sword, and makes his escape from the palace. ACT II SCENE 1 — A Square in Seville. Donna Elvira's Residence on the Left. It is a Moonlight Night Don Giovanni, followed by his servant, enters, wrapped in a mantle and carrying a mandolin. He has heard of a pretty servant w^hom Donna Elvira possesses, and is plotting to get the mistress out of the way. As Elvira sits at her w^indow, he addresses her, pretending to be repentant, but when she comes out he pushes Leporello torw^ard to impersonate him. While they are conversing, the Don makes a great outcry and the pair run off in fright. The coast clear, the Don sings his famous Serenade to the fair waiting maid. MALiRlil. AS DON CTOVANNI Serenata, '*Deh vieni alia finestra " {Open Thy W^indo^v, Love) By Antonio Scotti, Baritone {In Italian) 88194 12-inch, $3.00 By Titto Ruffo. Baritone {In Italian) 87112 10-inch, 2.00 By M. Hector Dufranne. Baritone {In French) -''45011 10-inch, 1.00 By Giuseppe de Luca, Baritone {Piano ace.) (In Italian) ='^62623 10-inch, .75 Dl'N GlilVANNT : ope, ope thy casement, dearest, Thyself one moment sliuw; Oh, if my pi-ay'r thou hearest. Wave but that arm of snow. Can'^t thou my ceaseless sighing With cold indif'rence greet? Ah! wouldst thou see me dying Despairing, at thy feet? Thy lip outvies Hymettian-honied bowers; \'irtue worthy an ani?i.'l, thy heart doth cherish: Thy sifih were bahii amid a heav'n of flowers; O, for one kiss, tJiis ;>oul would perisli 1 Ruffo's impersonation of Don Giovanni is admir- able in every respect. He is the profligate nobleman and irresistible wooer to the life, and sings the difficult score w^ith ease. Scotti's rendition of this famous serenade is given by the baritone with the grace and ease which never fail him, while two lower priced records are also offered. His amours are rudely interrupted by Masetto, who appears with a company of villagers, all armed with muskets, seeking the villain. The Don, pretending to be Leporello, offers to put them on the right track. Then follows a series of amusing situations, ending with the capture of the supposed Don by the three conspirators, but it proves to be Leoorello, who takes advantage of the situation to make his escape. * Doublc-Faced Record— For title of opposite side see DOUBLE-FACED DON GIOVANNI RECORDS, page 81. 80 RENAUD AS rii GIOVANNI VICTOR BOOK OF THE OPERA — MOZART'S DON GIOVANNI The next scene shows the Cathedral Square, with the statue of the murdered Commandant in the centre. The Don and Leporello enter, and are discuss- ing the events of the evening, w^hen the statue speaks to them. Leporello is terrified, but the Don defies all spirits and boldly in- vites the statue to supper. The scene changes to the banquet hall in the palace of the Don. In the midst of the festivities a loud knocking is heard. The guests flee in terror, the lights go out, and the gigan- tic figure of the Commandant appears at the door. Leporello cowers in terror under the table, but Don Giovanni is defiant until the ghost seizes his hand, w^hen he feels for the first time a ter- rible fear. The statue sinks, flames appear on all sides, and demons rise and seize the guilty libertine. EDOUAKD DE RESZKr! AS LEPORELLO LEPORELLO /Minuet from Act I By Victor Dance Orchestral \ Forward March — Two Step By Victor Dance Orchestra] /Serenade By M. Hector Dufranne, Baritone [In French] \ 1 Sij 'etais R.oi — Un regard de ses y^eux ! — Leon Beyle, Tenor (French) ( fMadamina, i\ catalogfo — By Arcangeio Rossi, Bass (In Italian)