\im IS I Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924086814195 PRICE 30 CENTS mm --mm THE ORIGINAL ITALIAN, FRENCH OR GERMAN LIBRETTO WITH A ^CORRECT ENGLISH STRANSLATI0N.4 U Maestro di Cappella mZ FRED. 0}l Published by NEW YORK CITY /THE ONLY CORRECT AND AUTHORIZED EDITION* USIC is an essential of every well regulated home. It is a factor of vital importance in the education of the children, an unending source of inspiration and recreation for the growing generation, a refining, cultivating influence touching every member of the family. It is the common speech that is understood by all, that appeals to everybody, that enlists the sympathies of man, woman and child, of high and low, of young and old, in every walk of life. The PIANO is the universal musical instrument of the home, the instrument that should be in every house- hold. And the greatest among pianos is the STEINWAY, prized and cherished throughout the wide world by all lovers of good music. Or, in the words of a well-known American writer : "Wherever human hearts are sad or glad, and songs are sung, and strings vibrate, and keys respond to love's caress, there is known, respected, revered^oved — ^the name and fame of STEINWAY." ■ '\ Catalogue and prices on application - Sold on convenient payments ': ' Old pianps taken in exchange Inspection invited Steinway &: Sons STEINWAY HALL 107-109 east' 14th STREET, NEW YORK CITY RepresenteH by the Foremost Dealers Everywhere ^ ^ ^ IL IDOESTBO 111 GPPPELLII (THE CHOIR LEADER) (COMIC OPERA IN ONE ACT) %>>> (9 MUSIC BY P A E R WORDS BY SOFIA GAY PUBLISHED BY FRED RULLMAN, INC., NEW YORK. N. Y. ARGUMENT. Geltrude, the cook of Barnaba, tlie choir-leader, is setting the table for dinner and is wondering how she will be able to sing his latest composition, Cleopatra, when she can hardly hum the simplest tune. Just then Barnaba comes in with his neighbor Benetto, whom he has invited to dinner. Barnaba is worried lest some one steal his Cleopatra. Geltrude frightens him into believing that the French are in the City and are going about from house to house stealing whatever they can lay hands on. When Barnaba' discovers it is all a ioke, he sends out Benetto for some wine and remains alone. In the next scene Barnaba is dreaming of the fame he will win when his work will be performed at the Scala. He goes through the score, imitating the different instruments. Then he calls Geltrude and goes through the role of Cleopatra with her, correcting her phras- ing. Finally he wants to embrace her as a reward for her singing. The scene ends in a duet between Geltrude and Barnaba. (// Maestro di Catteila') // Maestro di Cappella ATTO UNICO Un appartamento ammobigliato tno- destamente. — Nel fondo^un cami- netto con orologio. — Due usci, uno di prospetto, I'altro di fianco. — Una tavola a sinistra. — Un cem- balo a destra, nel fondo. SCENA PRIMA. Geltrude sola, in atto di preparare la tavola. Geltrude. Ah! quel maestro! gli e venuto in mente D'invitar suo nipote a desinare . . . Quel noioso Benetto, e per di piii Vuol che gli canti un certo suo duetto . . . lo che so appena canticchiar il Credo! £ matto ! . . . da una parte far Cleo- patra, E da quell'altra far andar lo spiedo! SCENA II. BarnabAj Benetto e Geltrude. Barnaba. Ma ti par, cara mia? Lasciar la casa Aperta, a questi lumi Di luna? Se mi rubano Cleopatra! Geltrude. Piove che Dio la manda! Barnaba. Eh! ma mon conti I francesi? Benetto. I francesi? Ah ci scommetto, Zio, che a voi fan paura! Barnaba. E a te? Benetto. Chi ha visto . . . Barnaba. Che cosa? BenettOi Faccia a f accia . . . corpo a corpo . , . Barnaba. Ma che cosa? Benetto. II Vesuvio! Barnaba. Bella bravura ! lo . . . come tu mi vedi . . . Senza ombrello. . . sfidato ho... Giove Pluvio! TERZETTO. Geltrude. Udite quel rumor? Barnaba e Benetto. Zitti! che mai sara? Geltrude. Ma nol sentite ancor? Son Francesi che fan chiasso... Nelle case penetrar E d'ogni erba un fascio far, Quando e notte, e il loro spasso! Quando e notte, e il loro spasso! The Choir-Leader A SINGLE ACT i modestly furnished apartment. — In the rear, a mantel with a clock. — Two doors, one in the front view and the other at the side. — A table to the left. — To the right, a cym- bal, in the background. SCENE I. Geltrude^ alone, setting the table. Geltrude. Oh, that teacher! he has taken into his head To invite his neighbor to -dinner — That boresome Benetto, and what's more, He wanta me to sing one of his duets — I, who can hardly hum through the Credo ! He is mad! On the one hand to sing the Cleopatra, And on the other to turn the spit! SCENE II. Barnaba, Benetto and Geltrude. 'Barnaba. Do you think it's right, my dear, to leave the house Open to the light Of the moon? If they should steal my Cleopatra! Geltrude. It's raining cats and dogs! Barnaba. What! Don't you count the French- men? Benetto. The Frenchmen? I can wager That they frighten you ! Barnaba. And you? Benetto. He who has seen Barnaba. What? Benetto. Face to face, body to body- But what? Vesuvius ! Barnaba. Benetto. Barnaba. Fine bravery! I, as you see me — Without an umbrella — have defied Rainy Jupiter! TRIO. Geltrude. Do you hear that noise? Barnaba and Benetto. What can it be? Geltrude. But don't you hear it? They are Frenchmen who are making an uproar — To penetrate the houses And to make a bundle of all the grass, At night, it's their pastime! IL MAESTRO DI CAPPELLA. Gli Altri Due (guardandosi I'un I'altro). Son Francesi che fan chiasso . . . Nelle case penetrar E d'ogni erba un fascio far, Quandro e notte, e il loro spasso ! Geltrude. Non sentite la il cannon? Pen, pen, pon! I Due. Questo e il rombo del cannon! Pon, pon, pon! Geltrude. E quest' altra e proprio tromba! Una squilla e I'altro romba! I Due. AH'inferno anche la trornba! Geltrude (imitando la tromba). Tara ta ta, tara ta ! Or vedrerrto il mio padrone Come esponga il petto ignudo, In si orribil occasione ! Barnaba. in cantina io mi richiudo. . . Benetto. L'orme vostre io seguiro. . . Di lasciarvi il cor non ho! Barnaba. Tremi troppo ! io non ti vo' ! Siamo andati! a ognun in volto Vedo nascere il pallor; E quantunque io valga, e molto, Sento in core un gran terror! Benetto. Persi siam ! a ognuno in volto Vedo nascer il pallor! E, benche sia prode e molto, Sento in petto un gran terror! Geltrude {additando Benetto). Al veder su quella faccia La tristezza ed il pallor, II coraggio che ei minaccia, Mi fa rider di gran cor! {Metteiidosi a ridere allegramente.) Ah! riuscita e la burletta! Voi mi fate sganasciar! Barnaba e Benetto. Che pretendi dir, fraschetta? Ci hai tu presi a canzonar? Geltrude. Perche dir dovrei di no? Barnaba e Benetto (alternandosi) Che ? Io squillo del claron . . . Come ? il rombo del cannon . . . La pesante artiglieria? Geltrude. Tutto vol di fantasia! Benetto. M'hai voluto spaventar, Ma hai perduto il tuo sapone . . . Geltrude. Anche un miglio da lontano L'ardimento vostro appar! . Benetto. Se si tratta di pugnar Ho un coraggio da leone! Barnaba. Grazie al cielo, pel momento £ passata I'occasione ! Benetto e Barnaba. La non puo finir cosl I Delia burla, o rea fraschetta, Pria che vada a monte il di, VogHo trar crudel vendetta! Geltrude. Perdonare, miei signor, Non vi spiaccia la burletta! Una celia, se ha sapor, Non e degna di vendetta! Barnaba. Ma il nostro pranzo? Geltrude. fi pronto. Baknaba. E la tacchina. E il duetto? THE CHOIR-LEADER. The Other Two {looking at each other). They are Frenchmen who are making an uproar — To penetrate the houses And to make a bundle of all the grass, At night, it's their pastime! Gertrude. Don't you hear the cannon? Bang, bang, bang! The Two. It's the roar of the cannon! Bang, bang, bang! Geltrtjde. And that other is the trumpet! The one roars and the other rumbles! The Two. To the devil with the' trumpet ! Geltrude {imitates the trumpet). Tara ta ta, tara ta! Now let us see my master, How he bears his breast, On such a terrible occasion! Barnaba. I'll lock myself in the cellar Benetto. I'll follow your footsteps — I haven't the heart to leave you! Barnaba. You tremble too much ! I don't want you Let us go! I see every one's face grow pale; And however much I try. And more, still I feel awful terror in my breast. Benetto. We are lost! I see every one's face Grow pale! And, though I am brave, I feel awful terror in my heart I Geltrude {pointing ot Benetto). In seeing that face Sad and pale, The courage which he musters up Makes me laugh! {Beginning to laugh joyfully.) Ah, the joke worked well! You make me burst with laughter! Barnaba and Benetto. What do you mean, you fool ? Have you taken to jesting? Geltrude. Why should I say no? Barnaba and Benetto {in turn). What? The sound of the horns — What? The war of cannon — The heavy artillery? Geltrude. All flights of fancy! Benetto. You wanted to frighten us, But your trick failed Geltrude. One could see your excitement A mile off ! Benetto. When it comes to fighting, I have the courage of a lion! Barnaba. Thank heaven that for the Moment, the opportunity has passed! Benetto and Barnaba. One can't let her off so easily ! For this jest, oh, wicked rogue. Before the day goes behind the moun- tain I'll take cruel vengeance on you! Geltrude. Pardon me, sirs. Let this jest not anger you! A joke, if there is a point to it, Does not deserve vengeance ! Barnaba. But our meal? It is ready. Geltrude. Barnaba. And the turkey — And the duet? 8 IL MAESTRO DI CAPPELLA. Geltrude. Alio spiedo! Barnaba. Ah ! malandrina ! Anche Cleopatra arrosto! Geltrude. Eh! nossignore! Barnaba. Meno mal!... Vieni qua... Senti, Benetto, Va dal curato a chiedergli Una di quelle sue certe bottiglie. . . Fra una mezz'ora, al piu tardi, ti aspetto ! (Benetto esce daU'uscio di prospetto: Geltrude da quello di-fianco.) SCENA III. Barnaba, solo. Barnaba. Approfittiam di questo quarto d'ora Per ripassar le pagine sublimi Dell'opera e del salmo . . . Ma incominciam da quella . . . Mi par gia di vedermi Incipriato e in abito di gala Chiamato alia ribalta delta Scala! Oh ! qual piacer di pregustar la gloria ! Fra il nuovo De-profundis, E I'opera che fo, Insediato io m'ho Fra i Dei con la Vittoria! L'orchestra udir mi par Gli accordi modular! Con un Tutti maestoso La sinfonia comincia... Ivi i fagotti gemono (imita il fagotto). La sospirano i corni . . . D'una regina in lagrime La mesta melodia Annuncia la presenza ! {li imita). Ad imitar I'incanto seduttor, Ispirami, Cleopatra, alma Sirena! Del labbro tuo mi distilla I'ardor, Ed otterro le palme della scena! Ella compar... un superbo larghetto Pinge lo stato del trepido core . . . Poche battute ancora e rallegretto Ne scolpisce I'amore! Ogni palpito di lei £ dal timpano imitato . . . Pan . . . pan . . . pan . '. . pan . . . Ella vede il suo bello arrivar ? Ed u flauto vel fa divinar! {Imita il flauto.) Esprimo i lor sospir, I fervidi desir, Nel mentre degli amor La leggera coorte Danza intorno di lor! (Si mette a bailor e.) Ma . . . rea f atalita, Quasi peggior di monte! Marc' Antonio soccombe Al tetro suo destin Ed il tam-tam ne annuncia. I'atra fin! Cleopatra allor delira E sul suo corpo si dispera e spira! Ed il pubblico, commosso A spettacolo si grande, Mi applaudisce a piti nn posso, Mi tempesta di ghirlande, E trottar a vol mi fa Per la gran posterita ! {Si odono dei fischi.) Ma ... chi sibila ... chi latra ? Questo strepito che e? Forse fischi contro me? No — e il serpente di Cleopatra. Ma invano, invan si vuol dai vili armar Avverso ai grandi I'aspide invidioso! Di fischi e d'urli in mezzo al tempe- star, Sa il vero genio uscir vittorioso ! {Chiamando.) Geltrude, Geltrude! SCENA IV. Geltrude e detto. Barnaba. Stavi forse studiando i tuoi francesi? Geltrude. E perche no? son pur miei patriotil... THE CHOIR-LEADER. To the spit ! Geltrude. Baenaba. Ah! you rogue! And Cleopatra roasted, too? Geltrude. Oh! No, sir! Baenaba. That's good. Come here. Listen, Benetto, Go to the curate and ask him For one of those bottles of his — I'll expect you in a half an hour, at the latest I (Benetto goes out of the front door: Geltrude out of the side.) SCENE IIL Baenaba, alone. Baenaba. Let us profit by this quarter , of an hour In going over the sublime pages Of the opera and of the psalm — But let us begin by that — I can already see myself In holiday attire Called to the foot-lights of the Scala! Oh ! what pleasure to. taste glory ! Between the new De-profundis And the work which was before, I have placed myself Between the gods with Victory! I seem to hear the harmonies Of the orchestra. With a sad Tutti The symphony begins — Then the bassoons sob {imitates the bassoons). There the horns sigh — (imitates them). The sad melody Announces the presence Of a queen in tears! Inspire me, Cleopatra, benign Siren, To imitate the seducing charm! Distil for me the passion of your lips, And I shall obtain the palm of the stage ! She appears — a proud larghetto Depicts the state of her trembling heart — A few more beats and the allegretto Will pronounce her love! Every trembling of hers Is imitated by the tabour — Pan — pan — pan — pan . Does she see her loved one coming? The flute makes her guess it! {Imitates the flute.) I express their sighs. Their fervid desires, In the midst of their love The light cohort Dances around them ! {Begins to dance.) But — evil fate, Almost worse than death ! Marc Antony succutribs To his bitter destiny And the tam-tam announces the dreadful end! Then Cleopatra raves And on his body she despairs and ex- pires ! And the public, moved At so great a spectacle, Applauds me to its utmost, Showers garlands upon me And sets my fame flying Through posterity ! {Hisses are heard.) But — who whistles, who barks? What noise is that? Are those hisses for me? No — it is Cleopatra's serpeht. But in vain, in vain does the jealous snake Want to arm itself with the evil ones against me. The true genius is able to come grea^ and victorious Out of the hisses and cries in .the midst of the tempest! Geltrude, Geltrude! {Calling.) SCENE IV. Gelteude and above. Baenaba. Were you studying your Frenchmen? Gelteude. Why not? They are my compatriots! 10 IL MAESTRO DI CAPPELLA. Barnaba. Come sarebbe a dir? Geltrude. Son Savojarda! Barnaba (con sussiego). La tua patria, mia cara, e . . . la lec- carda. Geltrude (erigendosi). Grazie davvero ! Barnaba. Ah ! f ra i piccanti intingoli El il velluto della tua vocina, Vorrei . . . vorrei . . . Sentiamo ! . Geltrude. Barnaba. Intenderti e mangiarti notte e giorno 1 . {Fa atto di vwrderla.) Geltrude. Padron, le gira! Barnaba. Non lo sai che t'amo! Vieni al cembalo, vien! cara e pro- viamo. DUETTO. • Geltrude. Ca^itar? Invero, che questa e bella! In italiano ? . . . se non lo so ! Barnaba. Tel vo' insegnare, o cattivella, Sol devi fare com'io faro! Geltrude. Ebben ! proviamolo questo duetto . . . Lo zelo mio vi vo' mostrar ! {Comincia a cantare.) Barnaba. C'e il ritornello e poi I'aspetto L'a solo tuo pria d'attaccar! {Canta il ritornello.) Geltrude. Ma. . . padron, che mai fara Quella povera regina, Sin che il lungo ritornello La cadenza non combina? Barnaba. Eh ! anche lei passeggera, Ruminando nel cervello, Come airOpera si fa! (Cammina maestosamente agitando il faszoletto che tiene in mano.) Geltrude. Sta ben! sta ben! Barnaba. Comincia! il tempo stringe! Gertrude (storpiando gli accenti). " Perche crudel, o Dio, " Rapirmi il caro ben?" Barnaba. Ahime ! no — no — cosi non va, Tu dei badar — com'io pronunzio! Geltrude. Ma se lo so che non mi sta ! . . . A proseguire omai rinunzio ! Barnaba. Non t'inquietare ! vien dietro a me E senza sforzo vedrai che canti! " Perche crudel, o Dio, " Rapirmi il caro ben ? " Geltrude {senza sbagliare gli atcenti). " Perche crudel, o Dio, "Rapirmi il caro ben?" Barnaba. Bene! benissimo! in fede mia THE CHOIR-LEADER. II Barnaba. And how is that? Geltrude. I am a Savoyarde. Barnaba (seriously). .Your country, my dear, is — the drip- ping pan. Geltrude (straightening up). Many thanks! Barnaba. Ah ! Yovi are such a- dear, That, twixt the piquant stews And the velvet of your Httle voice, I should like — I should like Listen ! Geltrude. Barnaba. To hear you and eat you night and day! (Pretends to bite her.) Geltrude. Master, look out! Barnaba. Don't you know that I love you! Go to the cymbal, go, dear, and let us try. DUET. Geltrude. To sing? Indeed, that's fine! In Italian— and if I don't know it! Barnaba. I'll teach you, little rascal, But you must do as I tell you ! Geltrude. Well then, let's try this duet: My ardor will teach you! (Begins to sing.) Barnaba. There is the refrain and then the pause — You a solo before beginning ! (Sings the refrain.) Geltrude. But, master, what will That poor queen do, L'ntil the long refrain Will combine with the cadence? Barnaba. Ah! She'll pace up and down. Thinking it over. As they do at the opera! (Walks sadly pulling at a handker~ chief which he holds in his hand.) Geltrude. That's good ! That's fine ! Barnaba. Begin ! It's high time. Gertrude (accents incorrectly). 'Why, O cruel God, " To deprive me of my beloved ?" Barnaba. ^ Alas, — no, that's not right. You must listen to how I pronounce! Geltrude. But if I -know that it's not for me! I refuse to go on! Barnaba. Don't get confused ! Come behind me And you'll see that you'll sing without effort. "Why, cruel God " To deprive me of my beloved ?" Geltrude (accenting correctly). "Why, cruel God " To deprive me of my beloved ?" Barnaba. Good! Fine! By my faith 12 IL MAESTRO DI CAPPELLA. Hai bene espresso il sentimento, Ala. . . un p6 di spasimo, dell'energia, Quasi il delirio! Geltrude. Ah! vi comprendo. . . Espresso meglio il gran tormento! " In quel funesto addio " Voglio morir almen !" (Torna a sbagliare gli accenti.) Barnaba. Ma Geltrude, ma Geltrude, Siamo fuor di carreggiata! Geltrude. Son parole troppo crude, fi una frase indiavolata! Barnaba. La imparerai — ten do mia f e . . . La imparerai — vien dietro a me! A Due. " In quel funesto addio '" Voglio morire insiem ! " Barnaba. Non si puo aver, in fede, Piu spirito di te! E, a ringraziarti, lascia ch'io t'ab- bracci ! Geltrude. Padron, no, no, di grazia... £ troppo onor per me! Non siamo qui per coniugar 1' "io t'amo !" Barnaba. Insieme, a due, mia cara, allor can- tiamo ! Barnaba e Geltrude. " O barbaro momento ! "Nell'anima mi sento " Furiosa una tempesta " Che mi solleva il cor ! " Pieta, Stella funesta, " Pieta di tanto amor ! " Fine, THE CHOIR-LEADER. 13 You have well expressed my feelings, But a little more sobbing, more energy, As if in a delirium! Geltrude. Ah! I understand you — I express great torments! " In this fatal farewell " I at least want to die ! " (Accents incorrectly.) Barn ABA. But Geltrude, my Geltrude, You are all wrong! Geltrude. Your words are too cruel, It is a fiendish phrase! Barn ABA. You'll learn it — ^by my faith — You'll learn it^ — come behind me. Both. " In this fatal farewell " Let us die together." Barnaba. One can't have more Spirit than you! And to thank you, let me embrace you. Geltrude., Master, no, please don't — It's too much honor for me! We're not here to conjugate "I love ' Barnaba. Together, my dear, let us sing! Barnaba and Geltrude. " O barbarous moment ! " I feel in my breast " A furious tempest " Excite my heart. " Pity, O fatal star, " Pity so much love !" End. 5im Opera Ticket Office iSuhscripiion or Single f^rformances 17 East 42n«> Street Corner Madison Ave. telephones VANDERBILT 724-3-7244-724-5 (off I C I AL P U B 1 1 S H E R S\0 V \ Opera-Librettos AND Play'Books IN All Languages >g;/fltllllllllllllllllllllUIIIIHIIIIIIIIIllUUIIIIIIIIIllllllllMHIIHI|IIIIIIH\>^X •iUKE Perfume is the obbligato of personality. The creations^ of Roger & Gallet? are inspired melodies of fragrance. ^ LeJade 9!emr^ The FVecious Perfume A new creation; suggests the Orient —tempts, allures, deceives. InExtrait, Ea,u de Toilette, Poudre, Savo^, Sachet. mour (FLOWERS OF LOVE) Just as lovely as its name, pure and desirable ^- the most luxurious perfume in the world. In all essential toilet r^uisites. Roger & Gallet PARFUMEURS — PARfS 35 West 32ni Street NEW YORK Best dealt 'erywKi 'ers evi f4- moi t. ' t