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/cu31924022271682 Cornell University Library ML 200.8.N5C35 500 times :Monday. October 16 .1899 : o 3 1924 022 271 682 "500 TIMES" Monday, October 16, 1899 Opera in English by the Castle Square Opera Company at THE AMERICAN THEATRE NEW YORK CITY ■ ' , ■ ' 'I I'll I The Castle Square Opera Company celebrates, with to-night's production of " Aida," its five-hundredth performance of " Opera in English " at the American Theatre. The enterprise has been conspicuously successful since the date of its inception, on Christmas Day, 1897. No other undertaking has accomplished more for the formation of a musical public, one that can be depended upon to support good music whenever offered. The influence exerted by two years of these popular presentations toward the growth of a musical taste in this community can scarcely be overestimated. Opera in English unquestionably tends toward a broader appreciation of this department of music on the part of the people. For the first time in the history of the lyric stage in this country, standard masterpieces of light and grand opera have been sung by capable and invariably conscientious principals, supported by a superb chorus, and given the material aids of beautiful and entirely new scenic equipments, correct acces- sories, and appropriate costumes — the whole at common-sense prices. The repertoire has been wonderfully varied, and the Castle Square Opera Company has made the transition from operas like the " Mikado " to " Lohengrin " with an altogether sur- prising facility. Many of the works might be regarded in the light of novelties, owing to their infrequent presentation in English, notable instances being " Lohengrin," " Romeo and Juliet," " Aida," " Lurline," " La Gioconda," " The Merry Wives of Windsor," " Barber of Seville," and " La Boheme," the latter opera being given its first production in the vernacular in America. The enlarged scope of the policy to be pursued during the coming year has been indicated by the brilliantly successful 3 production of " Die Meistersinger." During the year the com- pany will give representations of equally important composi- tions, such as " Tannhauser," " The Flying Dutchman," " Der Freischutz," " Ernani," " Star of the North," " Son and Stranger," and " La Tarantella," none of which have previously been given at the American Theatre. This series of performances naturally necessitated an aug- mented company, and to comply with this demand the manage- ment not only retained the services of the established favorites of last season's organization, but increased the forces by a group of new singers of international repute. The increased volume of the subscriptions for this season emphasizes the feasibility of the management's plan to estab- lish at the American Theatre a permanent home for Opera in English. The Castle Square Opera Company, with its branches in Chicago and St. Louis, the largest operatic company in the world, has gained a larger clientele than any other established musical organization, and has, by painstaking endeavor, won the regard of patrons of opera, not only in New York, but throughout America. List of Illustrations PAGE BARRON BERTHOLD 26 H. L. BUTLER 68 MARY CARRINGTON 54 LOUIS CASAVANT 80 BELLE D'ARCY 74 HARRY DA VIES 76 JAMES FORBES 12 GRACE GOLDEN 24 CECILE HARDY 46 BERNICE HOLMES 66 GEORGE A. KINGSBURY 10 ED. KNIGHT 56 SELMA KRONOLD 32 MAUD LAMBERT 62 ADOLPH LIESEGANG 16 MARY LINCK 38 HOMER LIND 40 HARRY LUCKSTONE 44 LIZZIE MACNICHOL 20 MARIE MATTFELD 50 WILLIAM MERTENS 82 CHARLES MEYERS 72 D. ELOISE MORGAN 42 PRANK MOULAN 64 DELLA NIVEN 70 WILLIAM PARRY 18 GERTRUDE QUINLAN 58 PRANK RANNEY 78 OSCAR PHILIP REGNEAS 52 REGINALD ROBERTS 36 HENRY W. SAVAGE 8 JOSEPH P. SHEEHAN 22 WILLIAM G. STEWART 14 BESSIE TANNEHILL 30 RHYS THOMAS 48 YVONNE DE TREVILLE 28 PERCY WALLING 60 Index to Programmes PAGE AIDA 65, 104, 107 A TRIP TO AFRICA 61 BARBER OF SEVILLE 100 BEGGAR STUDENT 39 BILLEE TAYLOR 34 BLACK HUSSAR 47 BOCCACCIO 55 BOHEMIAN GIRL 49, 81 CARMEN 37, 73, 98 CHIMES OF NORMANDY 75 CAVALLERIA RUSTICANA 23 DAUGHTER OF THE REGIMENT 99 DIE MEISTERSINGER 105 DOROTHY 59 FAUST 41, 45, 79, 101 FENCING MASTER, THE 13 FRA DIAVOLO 43 GONDOLIERS, THE 53 GRAND DUCHESS, THE 92 GYPSY BARON, THE 25 H. M. S. PINAFORE 23, 88, 90 IL TROVATORE 12, 67, 102 IOLANTHE 57 I PAGLIACCI *. 35, 89 LA BOHEME 77 LA GIOCONDA 95 LILY OF KILLARNEY 15 LOHENGRIN 85 LUCIA DI LAMMERMOOR 87 LURLINE 83 MADELEINE 51 MARITANA 31 MARTHA 21, 84 MERRY WIVES OF WINDSOR, THE 97 MIGNON 17, 91 MIKADO 33, 96 NANON 27 OLIVETTE 94 PATIENCE 63 PAUL JONES 19 PIRATES OF PENZANCE, THE 71 QUEEN'S LACE HANDKERCHIEF 9,86 RIGOLETTO 93 ROMEO AND JULIET 69. 103, 106 SINBAD 29 Index to Stories of the Operas PAGE AIDA 138 A TRIP TO AFRICA 135 BARBER OP SEVILLE 157 BEGGAR STUDENT 126 BILLEE TAYLOR 122 BOCCACCIO 133 BLACK HUSSAR 128 BOHEMIAN GIRL 129 CARMEN 125 CAVALLERIA RUSTICANA 118 CHIMES OP NORMANDY 140 DAUGHTER OP THE REGIMENT 154 DIE MEISTERSINGER 156 DOROTHY 134 PAUST 126 FENCING MASTER Ill PRA DIAVOLO 127 GONDOLIERS 132 GRAND DUCHESS 147 GYPSY BARON 119 H. M. S. PINAFORE 119 IOLANTHE 134 I PAGLIACCI 124 IL TROVATORE 110 LA GIOCONDA 150 LILY OF KTLLARNEY 112 LOHENGRIN 143 LUCIA DI LAMMERMOOR 145 LURLINE 142 MADELEINE 130 MARITANA 121 MARTHA 116 MERRY WIVES OF WINDSOR 152 MIGNON 115 MIKADO 123 NANON 117 OLIVETTE 153 PAUL JONES 114 PATIENCE 136 PEN PICTURES OF QUARTIER LATIN CHARAC- TERS, " LA BOHEME " 141 PIRATES OP PENZANCE 139 QUEEN'S LACE HANDKERCHIEF 109 RIGOLETTO 149 ROMEO AND JULIET 137 SINBAD 120 HENRY W. SAVAGE, Proprietor Castle Square Opera Company. 1st Week, Commencing Monday, Dec. 27, 1897. THE QUEEN'S LACE HANDKERCHIEF. COMIC OPERA, in Three Acts, by JOHANN STRAUSS. Cast of Characters. THE KING Miss Lizzie Macnicho] THE QUEEN Miss Annie Lichter DONNA IRENE, the Queen's confidante Miss Grace Golden MARQUISE OF VILLAREAL Miss Clara Wisdom CERVANTES, a poet Mr. Joseph F. Sheehan COUNT VILLAIOBOIS Y RODERIGUEZ, Prime Minister and head of the Regency Mr. Wm. G. Stewart DON SANCHO DE AVELLANEDA Y VILLAPINGUEDONES, tutor to the King- Mr. Raymond Hitchcock MARQUIS DE LA MARECHA VILLAREAL, Minister of War, Mr. Frank Wooley DUKE OF FERIA, Minister of Finance Mr. Chas. Whyte COUNT SAN GREGORIO, Minister of Interior. . .Mr. R. Ridgeley COUNT ERMOS, Minister of Navy Mr. W. C. Brockmeyer DON DIEGO DE BARADOS, Minister of Police Mr. R, Johns DANCING MASTER Mr. Eugene Danton MASTER OF CEREMONIES Miss Ruth White ANTONIO, innkeeper of the Sierra Ntiaro Mr. John Read Students, Doctors, Ladies and Gentlemen of the Court, Toreadors, Brigands, etc. Synopsis op Scenery. ACT I. — The garden of the Prime Minister's Palace (King). ACT II. — Coronation Chamber in Palace of the King of Portu- gal (Clare). ACT III. — Mountain scene in the Sierras (King and Clare). GEOKGE A. KINGSBUJUY, Resident Manager. Id 2d Week, Commencing Monday, Jan. 3, 1898. VERDI'S GRAND OPERA, IN FOUR ACTS, IL TROVATORE. (IN ENGLISH). Cast of Chaeacters. LEONORA i Miss Grace Golden | Miss Anna Lichter INEZ, her attendant Miss Ruth White AZUCENA, a gypsy, and pretended mother of Manrico, Miss Lizzie Macnichol MANRICO, the Troubadour William Stevens RUIZ, his follower Mr. Eugene Danton AN OLD GYPSY Mr. A. Barbara MESSENGER Mr. Prank Ranger COUNT DI LUNA, rival of Manrico Mr. Wm. G. Stewart FERRANDO, follower of the Count Mr. Wm. Schuster The scene is laid partly in Biscay and partly in Aragon, in the beginning of the Fifteenth Century. Synopsis of Scenery. ACT I. — Scene 1. — Hall in the Palace of Allatena. Scene 2. — Gardens of the Palace. ACT IL— The Gypsy Camp. ACT III.— The Convent Grounds. ACT IV. — Scene 1. — Camp of the Count's soldiers. Scene 2. — Room in Palace of Castellar. ACT V.— Scene 1.— The Prison. Scene 2.— The Tower. (By King and Clare.) 11 JAMES FORBES, 1'ress Representative. 12 3d Week, Commencing Monday, Jan. 10, 1898. THE FENCING MASTER. A ROMANTIC OPERA, IN THREE ACTS. Libretto by HARRY B. SMITH. Music by REGINALD DE KOVEN. Cast of Characters. DUKE OF MILAN Arthur Wooley FORTUNIO, his nephew, rightful heir to the ducal throne, Wm. G. Stewart TORQUATO, court fencing master Wm. Schuster FRANCESCA, his daughter, known as Francesco, and broug-ht up as a boy Grace Golden PASQUINO, the Duke's private magician and astrologer, Oscar Girard COUNT GUIDO MALESPINO Joseph F. Sheehan THE DOGE OP VENICE Oscar Voigt FILIPPA, the Duke's ward Nita Carritte MARCHESA DI GOLDONI, a young widow Helen G. Judson THERESA, daughter of a Milanese money-lender, betrothed to the Duke Florence Relda PIETRO, an innkeeper Ruth White RINALDO, Captain of the Guard W. C. Brockmeyer ISABELLA, a Venetian girl Emma King Synopsis of Scenery. ACT. I.— Milan. ACT H— The Plazette at Venice. ACT III. — The Marchesa's villa, near Venice. (By Clare and King.) 13 WILLIAM G. STEWART. General Director. 14 4-th Week, Commencing Monday, Jan. 17, 1898. UILY OF KILLARNEY (THE COLLEEN BAWN). ROMANTIC OPERA, IN THREE ACTS, BY SIR JULIUS BENEDICT. Cast of Characters. FATHER TOM Arthur Wooley EILY O'CONNOR, the Colleen Bawn Grace Golden HARDRESS CREGAN Jos. F. Sheehan ANNE CHUTE, the heiress Gertrude Quinlan SHEELAH Ruth White DANNY MANN Wm. Wolff MYLES NA COPPALEEN Thos. H. Persse CORRIGAN Raymond Hitchcock MRS. CREGAN, Hardress's mother Gertrude Rutledge O'MOORE John Reidy SERGEANT Chas. Scribner MIKE ) , . , , f Edward H. Bradley DENNY } IrlSh danC6rS { Thos. F. Waston THE PIPER James C. McCauliffe Synopsis of Sceneey. ACT I. — Scene 1. — Dining-hall at Tore Cregan. Scene 2. — The path leading to the Rock of Dunloe. Scene 3. — Room in Eily's cottage. ACT II. — Scene 1. — Exterior of Tore Cregan. Scene 2. — Exterior of Eily's cottage. Scene 3. — Devil's Rock at the cave entrance. ACT. III. — Scene 1. — Exterior of Myles's cottage. Scene 2. — Ballroom at Castle Chute. (By Frank King and John Clare.) 15 ABOLPH LIESEGANG. Musical Conductor. 16 5th Week, Commencing Monday, Jan, 24, 1898. MIGNON. GEAND OPERA, BY AMBEOISE THOMAS. (IN ENGLISH.) Cast of Characters. MIGNON, a stolen child Grace Golden t-.tt t^t . ( Myrta French FILINA, an actress J _ , . „ 1 Julie Cotte FREDERICK, a gallant in love with Pilina Lizzie Macnichol WILHELM MEISTEE, a young- student Thomas H. Fersse LOTHAEIO, father of Mignon Wm. Wolff LAEETES, manager of a troupe of actors E. N. Enight GIAENO, a gypsy chief Arthur Wooley ANTONIO, an old servant Eaymond Hitchcock Synopsis of Scenery. ACT I.— Courtyard of the inn. ACT II. — Filina's apartments in the Baron's castle. ACT III.— The castle grounds. ACT IV. — Gallery in Lothario's manor house, at Cipriani. (By Frank King.) 17 m. * fM ■ WILLIAM PARRY, Stage Director. 18 6th Week, Commencing Monday, Jan. 31, 1898. PAUL JONES. OPERA, IN THREE ACTS, BY PLANQUETTE. Cast of Characters. PAUL JONES, the celebrated nautical hero. .. .Lizzie Macnichol RUFINO DE MARTINEZ, a Spanish naval officer. Jos. P. Sheehan BICOQUET, a St. Malo ship chandler Raymond Hitchcock DON TROCADERO, Spanish Governor of the Island Estrella, Oscar Girard CAPTAIN KESTRAL, skipper of a Yankee privateer. .John Read CAPTAIN OCTROI W. Brockmeyer BOULLLABAISE, an old smuggler Wm. Wolff PETIT PIERRE, fisher lad of St. Malo Arthur Wooley RAINEZ Herman Haynes GOUJON P. S. Heck YVONNE, niece of Bicoquet Amy Hartley CHOPINETTE, wife of Bouillabaise Bessie Pairbairn MALAGUENA, niece of Don Trocadero Ruth White ALVA Amy Travis FERNANDO Caroline Franklyn RIBOSO Carrie Lipyeat DELPHINE Florence Relda Fishermen, Sailors, Smugglers, Lassies of St. Malo, Ladies of the Chateau, Spanish Officers, Pages, Creoles, etc. Synopsis of Scenery. ACT I.— Harbor of St. Malo, France. ACT II. — Chateau of Kerbignac, on the bay. ACT III.— The Governor's Palace at the Island of Estrella. (By Frank King.) 19 LIZZIE MACNICHOL. 20 7th Week, Commencing Monday, Feb. 7, 1898. MARTHA. ■ GRAND OPERA, IN FOUR ACTS, BY FLOTOW. Cast of Chaeacters. LADY HARRIET DURHAM, maid-of-honor to the Queen, Grace Golden NANCY, her waiting-maid Lizzie Macnichol LORD TRISTAN MIKLEFOKD, Lady Harriet's cousin, E. N. Knight PLUNKETT, a wealthy young- farmer Wm. G. Stewart LIONEL, his adopted brother, afterwards ( Chas. 0. Bassett Earl of Derby J Wm. Stephens THE SHERIFF John Read Chorus of Farmers, Servants, Hunters and Huntresses, Courtiers, etc. Synopsis of Scenery. ACT I, — Lady Harriet's boudoir. ACT II.— The fair at Richmond. ACT ILT.— Plunkett's farmhouse. ACT IV.— Scene 1.— Forest inn. Scene 2. — Yard of Plunkett's house. (By Frank King.) 21 JOSEPH F. SHEEHAN. 22 8th and 9th Weeks, Commencing Monday, Feb. 14, 1898. H. M. S. PINAFORE. NAUTICAL COMIC OPEEA, IN TWO ACTS, BY W. S. GILBERT AND STB ARTHUR SULLIVAN. Cast or Chabacteks. THE RIGHT HON. SIR JOSEPH PORTER, K.C.B., First Lord of the Admiralty Arthur Wooley CAPTAIN CORCORAN, commanding H. M. S. " Pinafore," Wm. G. Stewart RALPH RACKSTRAW, able seaman i JoS- R Sheehan ^ Chas. O. Bassett DICK DEADEYE, able seaman James Sturgess BILL BOBSTAY, boatswain E. N. Knight A SILENT MARINE Chas. Scribner JOSEPHINE, the captain's daughter Elsa May LITTLE BUTTERCUP, a bumboat woman Lizzie Macnichol HEBE, Sir Joseph's first cousin Bernice Holmes Chorus of Sailors, Sisters, Cousins, Aunts, etc. Scene— -Deck of H. M. S. " Pinafore," off Portsmouth, England. FOLLOWED EACH PERFORMANCE BY Cavalleria Rusticana. (IN ENGLISH) LYRIC MELODRAMA, IN ONE ACT, BY PIETRO MASCAGNI. Cast of Characters. SANTUZZA, a village girl Grace Golden LOLA, Alfio's wife Lizzie Macnichol mrmTTmn j. j ,,. f Jos. F. Sheehan TURIDDU, a returned soldier J ^ Q Bassett ALFIO, the village teamster Wm. G. Stewart LUCIA, Turiddu's mother Bernice Holmes Chorus of Villagers. Scene — A Sicilian street. Easter morning. Settings in both productions by Mr. Frank King and assistants. 23 GRACE GOLDEN. 24 10th Week, Commencing Monday, Feb. 28, 1898. JOHANN STRAUSS' MASTERPIECE, THE GYPSY BARON. IN THREE ACTS. Cast of Characters. SANDOR BARINKAY, the Gypsy Baron. .. .Mr. Jos. F. Sheehan COUNT HOMONAY, a recruiting officer Mr. W. G. Stewart COUNT CARNERO, a royal commissioner Mr. E. N. Knight KALMAN ZSUPAN, a rich hog laiser Mr. Win. Wolff OTTOKAR, son of Mirabella Mr. Arthur Wooley PALI ) . f Mr. Chas. Scribner ZOSZI . . . j" ^P sies j Mr. W. E. Brockmeyer SAFFI, a young gypsy girl Miss Nita Carritte CZIPRA, an old gypsy woman Miss Lizzie Macnichol ARSENA, daughter of Zsupan Miss Grace Golden MIRABELLA Miss Bessie Fairbairn Synopsis or Scenery. ACT I. — A gypsy encampment near the home of Zsupan. ACT II. — Ruins of a castle near the River Temes. ACT III. — Public square in Vienna. (By Frank King.) 25 BAKRON BERTHALD. 20 flth Week, Commencing Monday, March 7, 1898. N ANON. COMIC OPERA, IN THREE ACTS, BY GENEE. MARQUIS DE MARSELLAC Mr. Oscar Girard HECTOR, his nephew Mr. Chas. Campbell MARQUIS HENRI D'AUBIGNE, the King's chamberlain, Mr. Jos. E. Sheehan BOMBARDINE, his henchman Mr. Chas. Scribner LOUIS XIV Mr. Richard Ridgeley MONS. L'ABBE Mr. George Broderick THE NOTARY Mr. Wm. Voigt NANON, mistress of the Golden Lamb Miss Grace Golden NINON DE L'ENCLOS, a famous beauty. .. .Miss Mildred Meade MME. DE FRONTENAC. 1 , . j .Miss Amy Travis COUNTESS HONLIERS. . . \ S ±riencls "j . .Miss Ruth White GASTON, Ninon's page Miss Gertrude Quinlan MME. DE MAINTENON, the King's consort, Miss Bessie Fairbairn COUSIN PIERRE.... UNCLE MATTHEW. PAPA BERTRAND..I COUSIN JOE MOTHER LIZETTE. AUNT THEBESA . COUSIN MARION... J [. JACQUELINE Miss Nancy France SERGEANT .Mr. Richard Ridgeley Chorus of Peasants, Soldiers, Country Relations, Courtiers, Ladies, etc. Xanon's country relations Mr. John Read Mr. Richard Beale .Mr. W. C. Brockmeyer Mr. E. Danton ....Miss Hattie Havens ...Miss Nellie Berwick .Miss Georgie French Synopsis of Scenery. ACT I.— The Golden Lamb. ACT II. — Ninon's salon. ACT III. — Boudoir of Mme. de Maintenon. (By Frank King.) YVONNE DE TEEVILLE. 28 12th Week, Commencing Monday, March 14, 1898. SI N BAD; Or, THE MAID OF BALSORA. IN FOUR ACTS, BY HARRY B. SMITH. Cast of Characters. SINBAD, a dashing young 'prentice Miss Louise Royce COUNT MALADETTO SPAGHETTI, a nobleman from for- eign shores Mr. Joseph F. Sheehan NINETTA, Sinbad's sweetheart Miss Marie Celeste SNARLEYOW, a villain, who woos and tries to wed Ninetta, Mr. Edward G. Knight FRESCO, an idle apprentice, who blossoms into a cannibal king Mr. Oscar Girard SALAMAGUNDI, Snarleyow's lieutenant.. .Miss Gertrude Quinlan NICOLA, father of Ninetta Mr. Raymond Hitchcock OLD MAN OF THE SEA .Mr. A. W. Mafflin MARASCHINO, who wins the Count Miss Bessie Fairbairn ANGELO, Fiametta's sweetheart Miss Ruth White RAFAEL, Zerlina's sweetheart Miss Maud Vincent FIAMETTA, in love with Angelo Miss Lillian Lipyeat ZERLINA, in love with Rafael Miss Emma King CUPID, the guardian fairy Miss Marion Berg TUESDAY Ali WEDNESDAY Beni Apprentices, Milkmaids, Smugglers, Cannibals, Persians, etc. Sykopsis of Scexery. ACT I.— The Port of Balsora, at daybreak. ACT II. — Scene 1. — The deck of the " Roc," Snarle3fow's ship. The White Squadron. ' Scene 2. — The depths of the ocean. Tableau. ACT III. — Scene 1. — Tropical isle. Ali and Beni in acrobatic specialty, "The Bogie Man; " Fresco, the donkey and the lion. Scene 2. — In the jungle. Specialties. Scene 3. — The Frozen Valley of Diamonds. The attendant sprites. The McDonoug'h Trio, in a Grotesque Gymnastic Exhibition. ACT IV. — Scene 1. — The palace of Sinbad. March of all Nations. Grand wedding cavalcade. Scene 2. — On the road to the chapel. Grand medley. Scene 2. — Transformation. " The Origin of the Harp." (By Frank King and Walter Burridge.) 29 BESSIE TANNEHILL. 30 13th Week, Commencing Monday, March 21, 1898. M ARITAN A. STANDARD OPERA, IN FOUR ACTS, BY WALLACE. Cast of Characters. MARITANA, a gypsy Miss Grace Golden CHARLES II., King of Spain Mr. Dashiell Madeira DON JOSE DE SANTAREM, his minister Mr. Max Eugene DON CAESAR DE BAZAN Mr. Joseph F. Sheehan MARQUIS DE MONTEFIORI Mr. Oscar Girard LAZARILLO Miss Ruth White MARCHIONESS DE MONTEFIORI Miss Bessie Fairbairn CAPTAIN OF GUARD Mr. John Read ALCADE Mr. Richard Beale Chorus of Nobles, Soldiers, Men-at-Arms, Citizens, Ladies of Court, etc. Synopsis op Scenery. ACT I. — A square in Madrid. ACT II. — A dungeon in the fortress. >* ACT III. — The grand salon of the Marquis' palace. ACT IV. — Room in villa belonging to_ -King .Charles. (By Frank King.) 31 SELMA KKONOLD. :33 14th and 15th Weeks, Commencing Monday, March 28, 1898. M I KADO; Or, THE TOWN OF T1TIPU. BY SIR ARTHUR SULLIVAN AND W. S. GILBERT. Cast of Chabactees. MIKADO OF JAPAN Oscar Girard NANKI-POO, his son, disguised as a wandering minstrel and in love with Yum- Yum Jos. F. Sheehan KO-KO, Lord High Executioner of Titipu ... Raymond Hitchcock POOH-BAH, Lord High everything else Wm. G. Stewart PISH-TUSH, a noble Lord Dashiell Madeira NEE-BAN, umbrella carrier to the Mikado Chas. Scribner YUM- YUM -j (-....Grace Golden PITTI-SING J three sister wards of Ko-Koj. Lillian Swain PEEP-BO j [ Emma King KATISHA, an elderly lady, in love with Nanki-Poo, Bessie Fairbairn Synopsis or Scenery. ACT I. — Courtyard of Ko-Ko's official residence. ACT II.— Ko-Ko's garden. (By Frank King.) 33 16th and 17th Weeks, Commencing Monday, April II, 1898. COMMENCING WITH THE COMIC OPEEA, BILLEE TAYLOR. IN TWO ACTS, BY SOLOMON. Cast of Chaeacters. CAPTAIN THE HON. EELIX FLAPPER, R. N., of H. M. S. " Thunderbomb " Raymond Hitchcock SIR MINCING LANE, Knight, self-made man.. Richard Ridgeley BILLEE TAYLOR, a gardener Jay Taylor BEN BARNACLE, " bosun " of the " Thunderbomb," E. N. Knight CHRISTOPHER CRAB, an ancient schoolmaster. . .Oscar Girard PHGEBE FAIRLEIGH, a village maiden, betrothed to Billee, Marie Celeste ARABELLA LANE, Sir Mincing Lane's daughter, Phoebe's rival Ruth White ELIZA DABSEY, an old flame of Barnacle's Bessie Fairbairn SUSAN Emma King Chorus of Sailors, Volunteers, Peasants, Charity Girls, etc. Synopsis op Sceneky. ACT I. — A village green at Southampton. ACT II. — At Portsmouth, the harbor in the distance. (By Frank King.) Time of the Opera — About the beginning of the present century. 34 IMMEDIATELY FOLLOWING WITH LEONCAVALLO'S IMPRESSIVE WORK, I ■" iPAGLIACCI (PUNCHINELLO). Cast or Characteks. NEDDA (in the play, Columbine), a strolling player, wife of Canio Grace Golden CANIO (in the play, Punchinello), master of ( Jos. F. Sheehan the troupe 1 Chas. O. Bassett TONIO, the clown (in the play, Taddeo) Wm. G. Stewart PEPPE (in the play, Harlequin) Jay Taylor SILVIO, villager Richard Ridgeley Villagers. The scene is laid in Calabria, near Montalto, on the Feast of the Assumption. Period between 1865 and 1870. ■■!,-> REGINALD ROBERTS. 36 18th Week, Commencing Monday, April 25, 1898. CARMEN. STANDARD GRAND OPERA, IN FOUR ACTS, BY BIZET. Cast of Ciiaeactees. DON JOSE Thos. H. Persse ESCAMILLO Max Eugene IL DONCAIRO "1 , f Wm. Wolff IL REMENDADO.. j oS [ Arthur Wooley ZUNIGA Wm. Broderick MORALES Richard Ridgeley LILIAS PASTIAS Chas. Scribner . MICHAELA Edith Mason FRASQUITA ) . . , . _ f .. .Florence Relda -___„___„ '- gvpsy friends of Carmen J _, . ^ , MERCEDES j B " F J ^..Bermce Holmes CARMEN Lizzie Macnichol Gypsies, Soldiers, Smugglers, Soldier Boys' Chorus, Peasants, Cigarette Girls, Toreadors, etc. Synopsis of Scenery. ACT I. — A square in Seville. ACT II.— The tavern of Lilias Pastias. ACT III. — The smugglers' retreat in the mountains ACT IV.— Seville Street, outside Plaza del Toros. (By Frank King.) 37 MARY LINCK. :;s 19th Week, Commencing Monday, May 2, 1898. REVIVAL OF MILLOECKEB'S TUNEFUL COMIC OPEEA, THE BEGGAR STUDENT. IN THEEE ACTS. Cast of Characters. SYMON SYMONOVITZ, the Beggar Student Thos. H. Persse JANITSKY, his friend Jay C Taylor GEN. OLLEXDOEF, Military Governor of Krakow Wm. Woltt ENTEEICH, a jailer Raymond Hitchcock PUFFKI, jailer 0. Eisley MAJOR HOLTZHEIM E. C, Edmunds SITZKY, an innkeeper Chas. Scribner COUNTESS PALMETICA Jennie Rieffarth LAURA ) . , .. f Edith Mason BEOXISLAVA . } h " dau ^ hters { Gertrude Quinlan EVA Bernice Holmes OXOXPHRIE C. Scribner LIEUT. POPPENBUBG Lillian Swain LIEUT. SCHWEINITZ W. C. Guard LIEUT. WAXGEEHEIM F. S. Heck BURGOMASTER W. E. Brockmeyer BOGUMIL P. 0. Depew Chorus of Prisoners, Peasants, Soldiers, Musicians, Courtiers, Pages, Maids, Children, etc. Synopsis of Scenery. ACT I. — Scene 1. — The military prison at Krakow. Scene 2. — The Springtide Fair. ACT II. — Grand salon in the Countess' palace. ACT III.— Garden of the palace. (By Frank King.) 39 HOMER LIND. 40 20th Week, Commencing Monday, May 9, 1898. FAUST. STANDARD GRAND OPERA, BY CHARLES GOUNOD. Cast of Charactees. FAUST | / h ° S - F n S £ eeha ° | Chas. O. Bassett VALENTINE Wm. G. Stewart MEPHISTOPHELES Wm. Broderick WAGNER Richard Ridgeley MARGUERITE J ... .Edith Mason ) Yvonne de Treville SIEBEL Maude Lillian Berri MARTHA Bessie Fairbairn- Chorus of Students, Soldiers, People, Demons, etc. Synopsis of Scenery. ACT I.— Studio of Dr. Faust. ACT. II. — The market square. ACT III. — Marguerite's garden. ACT IV.— The church corridor. ACT V.— In front of the church. ACT VI.— The prison. (By Prank King.) 41 D. ELOISE MORGAN. 43 21st Week, Commencing Monday, May 16, 1898. FRA DIAVOLO. STANDARD ENGLISH OPERA, IN THREE ACTS, BY AUBER. Cast of Characters. ZERLINA, Matteo's daughter, in lore with Lorenzo. .Edith Mason FRA DIAVOLO, a bandit chieftain, disguised as the Marquis of San Carlo Thos. H. Persse BEPPO | bandits, ( Wm. Wolff GIACOMO | followers of Fra Diavolo j Frank Ranney LORD ALLCASH, an English tourist Arthur Wooley LADY ALLCASH, newly wedded to Lord Alleash, Bessie Fairbairn ROBERTO Gertrude Blancke MATTEO, landlord of the inn Dashiell Madeira LORENZO, Captain of the Carabineers Jay C. Taylor FRANCESCO VERONA, the bridegroom J. C. Gibson Chorus of Peasants, Carabineers, etc. Synopsis of Scenery. ACT I. — The inn on the mountain. ACT II. — Zerlina's bedchamber. ACT III.— The inn. (By Frank King.) 43 HARRY LUCKSTONE. 44 22d Week, Commencing Monday, May 23, 1898. FAUST. STANDARD OPERA, BY CHARLES GOUNOD. Cast of Characters. FAUST J Jos ' F " sheenai1 1 Chas. O. Bassett VALENTINE Wm. G. Stewart MEPHISTOPHELES Wm. Broderick WAGNER Richard Ridgeley MARGUERITE j ...... Grace Golden j Yvonne de Treville SIEBEL i Elenore Francis [ Marion Ivel MARTHA Bessie Eairbairn Chorus of Students, Soldiers, People, Demons, etc. Synopsis of Scenery. ACT I.— Studio of Dr. Faust. ACT. II.— The market square. ACT III. — Marguerite's garden. ACT IV.— The church corridor. ACT V.— In front of the church. ACT VI.— The prison. (By Frank King.) 45 CECTLE HAEDY. 40 23d Week, Commencing Monday, May 30, 1898. SPECTACULAR REVIVAL OF THE BLACK HUSSAR. IN THREE ACTS, BY MILLOCKER. Cast or Characters. HERBERT, Captain in Black Hussars, disguised as an army chaplain Thos. H. Persse WALDERMANN, his companion Richard Ridgeley HACKENBACK, Magistrate of Trautenfeld I ™?,^ laS £ , ^ j William Wolfi PIFFKOW, his man-of -all-work Arthur Wooley THORLLLIERE, Major in Napoleon's army Frank Moulan HETMAN, Captain of the Cossacks A. Barbara MIFFLIN, an actor Richard Beale MINNA ^ TT , , ,, f Edith Mason / Hackenback's \ _ , n „„„„„_, V -, ,, J f Gertrude Qumlan E0SETTA j daughters [ j Euth white BARBARA Bessie Fairbairn RICCA Emma King GODDESS OF LIBERTY Josephine Neale GERMANIA Ida Clark FIRST CITIZEN Frank Ranney SECOND CITIZEN Charles Scribner Sykopsis of Scenery. ACT • I. — Hackenback's living room and magistrate's office. ACT II. — Square in front of Hackenback's house. ACT III.— The forest, after the battle. (By Frank King.) 47 RHYS THOMAS. 4S 24th Week, Commencing Monday, June 6, 1898. BALFE'S BEAUTIFUL BOHEMIAN GIRL. STANDARD GRAND OPERA, IN THREE ACTS. Cast of Chakactees. COUNT ARNHEIM, Governor of Presburg Wm. Broderick THADDEUS, a proscribed Pole Jos. F. Sheehan FLORESTEIN, a nephew of the Count Arthur Wooley DEVILSHOOF, chief of the gypsies Douglas Flint CAPTAIN OF THE GUARD E. C. Edmonds ARLINE, daughter of the Count Grace Golden BUDA, her attendant Lillian Lipyeat QUEEN OF THE GYPSIES X L^ie Macnichol 1 Marion Ivell Chorus of Nobles, Soldiers, Gypsies. Retainers, and Peasants. Synopsis of Scenery. ACT I. — The Count's chateau, near Presburg. ACT II. — Scene 1. — The gypsy encampment. Scene 2. — On the road to the fair. Scene 3. — The fair at Presburg. Scene 4.— The Hall of Justice. ACT 111. — Reception-room in the Count's chateau. (By Frank King.) 49 MARIE MATTFELD. 5il •25th Week, Commencing Monday, June 13, 1898. MADELEINE; Or, THE MAGIC KISS. COMIC OPERA, IN THREE ACTS, BY STANISLAUS STANGE AND JULIAN EDWARDS. Cast of Characters. BARON DE GRIMM, a centenarian William G. Stewart DR. GOURMET, his physician Oscar Girard JULES LE MEAGRE, his scribe Prank Moulan FRANCOIS, his steward Chas. Campbell EMILE, his majordomo Charles Scribner AUGUSTE DEUTCH, alias Frederic Ribeau ... William Broderick MADELEINE, the Baron's ward Louise Eissing MATRIMONIAL MARY, a sextette widow Bessie Fairbairn MARGOT | Gourmet's ( Maude Burke VTVETTE J daughters j Cecil Lorraine Chorus of Villagers, Courtiers, etc. Synopsis of Scenery. ACT I. — Gardens of the Chateau de Grimm, decorated for the rose festival. ACT II. — Reception hall in the Chateau de Grimm. ACT III. — Gardens of Chateau de Grimm. (By Frank King.) 51 OSCAR PHILIP REGNEAS. 52 26th Week, Commencing Monday, June 20, 1898. GILBERT AND SULLIVAN'S THE GONDOLIERS. IX TWO ACTS. Cast of Characters. DUKE OP PLAZA TOEO { ' „ IlM f J 1 " | \\ in. Broderick LUIZ Chas. Campbell DON ALHAMBRA DEL BOLERO Raymond Hitchcock MARCO Joseph P. Sheehan GIUSEPPE Wm. G. Stewart ANTONIO J. P. Boyle DUCHESS OE PLAZA TOEO Bessie Fairbairn GIANETTA Louise Eissing CASILDA Ruth White TESSA Gertrude Quinlan FIAMETTA Julie Cotte VTTTORIA L. Martinez GIULIA Lillian Lipyeat INEZ Dolly Delroy FRANCESCO Chas. Scribner GIORGIO P.O. Depew Synopsis of Scenery. ACT I.— The Plazetta, Venice. ACT II. — Pavilion in the Palace of Bartaria. (By Frank King.) 58 MARY CAEEINGTON. 54 OPENING OF SECOND SEASON 27th Week, Commencing Monday, Sept. 5, 1898. BOCCACCIO. COMIC OPERA, IK THREE ACTS, BY FRANZ VON SUPPE. Cast of Characters. BOCCACCIO, novelist and poet Lizzie Macnichol LEONETTO, his friend and student Harry L. Chase PIETRO, Prince of Palermo Joseph P. Sheehan LOTTERINGHI, a cooper Wm. G. Stewart LAMBERTUCCIO, a grocer Raymond Hitchcock SCALZA, a barber Frank Moulan FRATELI, a bookseller S. P. Veron MAJORDOMO Frank Ranney THE UNKNOWN Sol Philip A MESSENGER Charles Scribner CHECCO, a beggar 0. W. Risley FRESCO, the cooper's apprentice Maud Marean FIAMETTA, Lambertuccio's adopted daughter Villa Knox BEATRICE, Scalza's daughter Attalie Claire ISABELLA, Lotteringhi's wife Gertrude Quinlan PERONELLA, Lambertuccio's sister Rose Leighton FILIPPA Emma King ORETTA Marie Stuart Chorus of Beggars, Students, Citizens, Coopers, Courtiers, etc. Synopsis op Scenery. ACT I.— Public square in Florence. ACT II. — Adjoining yards of the grocer and cooper. ACT ni— The Ducal Palace. (By Frank King.) 55 ED. KNIGHT. 56 .28th Week, Commencing Monday, '.Sept. I2,[I898. IOLANTHE. COMIC OPERA, IN TWO ACTS. BY W. S. GILBERT AND SIR ARTHUR SULLIVAN. Cast of Characters. THE LORD CHANCELLOR Raymond Hitchcock EARL OF MOUNTARARAT Harry L. Chase EARL OF TOLLOLLER Jos. F. Sheehan STREPHON, an Arcadian shepherd W. G. Stewart PRIVATE WILLIS, of the Grenadier Guards. . . .John Carrington TRAIN-BEARER Frank Ranney Male Chorus of Dukes, Marquises, Earls, Viscounts, and Barons. QUEEN OF THE FAIRIES Lizzie Maenichol IOLANTHE, Strephon's mother Laura Denio PHYLLIS, an Arcadian shepherdess and ward in chancery, Gertrude Quinlan LELIA ....-) J" Mae Burt CEILA I Fairies J Alice Campbell FLETA....J [ Stella Madison Female Chorus of Fairies. Synopsis of Scexery. ACT I. — An Arcadian landscape. (Frank King.) ACT II. — Palace Yard. Westminster. (Frank King - .) Period— Between 1700 and 189S. 57 GERTRUDE QUINLAN. 58 29th Week, Commencing Monday, Sept. 19, 1898. DOROTHY. COMIC OPERA, IN THREE ACTS, BY ALFRED CELLIER. Cast of Characters. DOROTHY BANTAM, Squire Bantam's daughter. . .Attalie Claire LYDIA HAWTHORNE, her cousin Lizzie Macnichol PRISCILLA PRIVETT, a widow Rose Leigh ton PHYLLIS, Tuppet's daughter Gertrude Quinlan GEOFFREY WILDER, Bantam's nephew Joseph F. Sheehan HARRY SHERWOOD, Wilder's chum Wm. G. Stewart SQUIRE BANTAM, of Chanticleer Hall Harry L. Chase LURCHER, a sheriff's officer Raymond Hitchcock TUPPET, the village landlord Frank Moulan TOM GRASS, in love with Phyllis Algernon Aspland Synopsis of Scenery. ACT I.— Tuppet's Inn. ACT II.— Chanticleer Hall. ACT III. — Hermit Oak. Round coppice. (By Frank King.) 59 PERCY WALLING CO 30th Week, Commencing Monday, Sept. 26, 1898. A TRIP TO AFRICA. COMIC OPERA, IN THREE ACTS, BY FRANZ VON SUPPE. Cast of Characters. TITANIA FANFANI Villa Knox FANFANI PASHA, her uncle Raymond Hitchcock MIRADELLO, a European Wm. G. Stewart ANTARSID, Prince of Maronites Jos. F. Sheehan TESSA, a young- milliner Gertrude Quinlan BUCCAMETTA, her mother Rose Leighton PERICLES, an hotel-keeper Harry L. Chase NAKED, a Koptic dealer in poison and perfumes. . .Frank Moulan SIEBEL, an Abyssinian slave Maude Poole HOSH, servant to Pericles Frank Ranney A MUEZZIN S. P. Veron MAJORDOMO E. C. Edmonds A SAIS A. Underwood Maronites, Hotel Servants, Guests of Fanfani Pasha, Slave- Traders, Muleteers, Dancers, Greek and Arabian People. Synopsis of Scenery. ACT I.— Hotel at Cairo. ACT II. — Fanfani Pasha's villa, near Cairo. ACT III. — Bedouin camp, interior of Africa. (By Frank King.) 61 MAUDE LAMBERT. IK 31st Week, Commencing Monday, Oct. 3, 1898. PATIENCE. IN TWO ACTS. BOOK BY W. S. GILBERT. SCORE BY SIR ARTHUR SULLIVAN. Cast of Chabacters. REGINALD BUNTHORNE, a fleshly poet. . . .Raymond Hitchcock ARCHIBALD GROSVENOR, an idyllic poet Wm. G. Stewart COL. CALVERLEY "\ officers of (Harry L. Chase MAJOR MURGATROYD I Dragoon J Frank Moulan LIEUT. THE DUKE OP DUNSTABLE J Guards [jos. P. Sheehan BUNTHORNE'S SOLICITOR Erank L. Ranney Chorus of Dragoon Guards. THE LADY ANGELA \ r Lizzie Macnichol THE LADY SAPHIR / rapturous \ . . .Gertrude Quinlan THE LADY ELLA f maidens "\ Zetti Kennedy THE LADY JANE ) ( Rose Leighton PATIENCE, a milkmaid Belle Thorne Chorus of Maidens. SYNorsis of Scenery. ACT I. — Exterior of Castle Bunthorne. ACT II.— A glade. (By Frank King.) 63 FRANK MOULAX. 04 32d and 33d Weeks, Commencing Monday, Oct. 10, 1898. FIRST TIME IN NEW YORK CITY IN ENGLISH, A I DA. GRAND OPERA IN FOUR ACTS, BY GIUSEPPE VERDI. Cast of Characters, f Miss Yvonne de Treville | Miss Effie Stewart KING Mr. S. P. Veron ,,,,„„„ f Miss Lizzie Macnichol AMNERIS ... . t, ' • I . . . Miss Grace Romame RHADAMES i Mr ' J ° Seph R Sheehan | Mr. Wm. Lavin RAMEIS , Mr. Herbert Witherspoon AMONASRO f Mr W.G Stewart j . . .Mr. H. L. Chase MESSENGER Mr. Algernon Aspland Priests, Priestesses, Soldiers, Egyptians, etc. Synopsis of Scenery. The action takes place at Memphis and Thebes during- the reign of the Pharaohs. ACT. I. — Scene 1. — Hall in the King's palace at Memphis. Scene 2.— The Temple of Vulcan. ACT II. — Scene 1. — The boudoir of Amneris. Scent 2. — Tri- umphal scene. Entrance to city of Thebes. ACT III.— Exterior of the Temple of Isis. River Nile. ACT IV. — Scene 1. — Hall in the King's palace. Scene 2. — In- terior of Temple of Vulcan, showing tomb beneath. (By Prank King.) BERNICE HOLMES. 66 34th Week, Commencing Monday, Oct. 24, 1898. VERDI'S GRAND OPERA, IN SIX ACTS, IL TROVATORE. (IN ENGLISH.) Cast op Characters. LEONORA- | Yvonne de Treville j Adelaide Norwood INEZ, her attendant Zetti Kennedy AZUCENA, a gypsy, and pretended mother of Manrico, Lizzie Macnichol ArA^nTo^ x t rr. ^ n ( J os - F. Sheehan MANRICO, the Troubadour J „,.„. T . • ) . . Vvilham Lavin RUIZ, his follower Algernon Aspland AN OLD GYPSY E. B. Knight _ T tttati • i -c ir f Wm - G - Stewart COUNT DI LUNA, rival of Manrico .1 TT T _, j Harry L. Chase FERRANDO, follower of the Count E. N. Knight / Synopsis of Scenery. ACT I.— Scene 1.— Hall in the Palace of Allatena. Scene 2. — Gardens of the Palace. ACT IL— The gypsy camp. ACT III.— The convent grounds. ACT IV. — Scene 1. — Camp of the Count's soldiers. Scene 2. — Room in Palace of Castellar. ACT V.— The tower. ACT VI. — Interior of the prison. (By Frank King.) 67 H. L. BUTLER. (is 35th Week, Commencing Monday, Oct. 31, 1898. ROMEO AND JULIET. GRAND OPERA, IN FIVE ACTS, BY CHARLES GOUNOD, Cast of Characters. -r^^,,r^^, f Mr. Joseph P. Sheehan ROMEO < „ \t,.,,. T • j .... Mr. William Lavin MERCUTIO, his friend Mr. W. G. Stewart THE PRINCE Mr. S. P. Veron PARIS Mr. Frank Moulan CAPULET, father of Juliet Mr. H. L. Chase TYBALT, Juliet's cousin Mr. Martin Pache FRIAR Mr. Herbert Witherspoon BENVOLIO Mr. Algernon Aspland GREGORIO Mr. E. N. Knight JULIET, daughter of Capulet. f Miss Yvonne de Treville I Miss Adelaide Norwood STEPHANO, page to Romeo .Miss Lizzie Macnichol GERTRUDE, nurse to Juliet Miss Mary Palmer Synopsis of Scenery. ACT I. — Scene 1. — Vision of the Montagues and Capulets. Scene 2. — Interior of Capulet's palace. ACT II.— Garden of Capulet's house. ACT III.— Seen e 1.— The chapel. Scene 2. — A street in Verona. Exterior of Capulet's house. ACT IV. — Juliet's chamber. ACT V.— The tomb. (By Frank King.) 69 DELL A. NEV1N. 70 36th Week, Commencing Monday, Nov. 7, 1898. The Pirates of Penzance; Or, THE SLAVE OF DUTY. COMIC OPERA, IN TWO ACTS, BY W. S. GILBERT AND SIR ARTHUR SULLIVAN. Cast of Characters. MAJOR-GENERAL STANLEY, of the British Army, Frank Moulan RICHARD, a pirate chief Wm. G. Stewart SAMUEL, his lieutenant John Carrington FREDERIC, a pirate apprentice Jos. F. Sheehan EDWARD, sergeant of police Harry L. Chase MABEL, Major-General Stanley's youngest daughter, Adelaide Norwood KATE ] f. Gertrude Quinlan EDITH.. . LMajor-General Stanley's daughters./ Zetti Kennedy ISABEL. . J [ . . . .Lorle Eddinger RUTH, a piratical maid-of -all-work Marion Ivel Major-General Stanley's Daughters, Pirates, and Policemen. Synopsis of Scenery. ACT I. — A rocky seashore on the coast of Cornwall, England. ACT II. — A ruined chapel on Major-General Stanley's estate. (By Frank King.) 71 CHARLES MEYERS. 72 37th Week, Commencing Monday, Nov. 14-, 1898. CARMEN. STANDARD GRAND OPERA, IN FOUR ACTS, BY BIZET. Cast of Characters. DON JOSE ( J°« ; F- Sheehan j ... Martin Pache ESCAMILLO W. G. Stewart IL DONCAIRO )_ , ( E. N. Knight IL REMENDADO. ... \ St j Frank Ranney ZUNIGA H. L. Chase MORALES Frank Moulan LILIAN PASTIAS Chas. G. Scribner MICHAELA Adelaide Norwood FRASQUITA . . ~) „ . . . ^ r . ( . . . . Zetti Kennedy -..--.-^^tt^t-,,-, 5- Gypsy friends ot Carmen ' ,., _ , MERCEDES. . . j ' ' J j Mary Palmer CARMEN .Lizzie Macnichol Gypsies, Soldiers, Smugglers, Soldier Boys' Chorus, Peasants, Cigarette Girls, Toreadors, etc. Synopsis of Scenery. ACT I.— A Square in Seville. ACT IL— The Tavern of Lilias Pastias. ACT III. — The Smugglers' Retreat in the Mountains. ACT IV.— Seville street, outside Plaza del Toros. (By Frank King.) BELLE D'ARCY. 74 38th Week, Commencing Monday, Nov. 21, 1898. The Chimes of Normandy. COMIC OPERA, IN THREE ACTS, BY PLANQUETTE. Cast of Characters. SERPOLETTE, the good-for-nothing Villa Knox GERMAINE, the lost Marchioness Adelaide Norwood SUSANNE Maude Poole JEANNE Georgie Deland HENRI, Marquis of Corneville William G. Stewart JEAN GRENICHEUX, a fisherman Joseph F. Sheehan GASPARD, an old miser Edward P. Temple THE BAILLI Frank Moulan THE NOTARY Frank Ranney Chorus of Peasants, Sailors, Servants, Coachmen, Waiting- Maids, etc. Synopsis of Scenery. ACT I. — Scene 1. — The beach of Corneville. Scene 2. — On the road to the Fair. Scene 3. — The Fair of Corneville. ACT II. — Room in the haunted chateau. ACT III.— Garden of the chateau. (By Frank King.) 75 HARRY DA VIES. 70 39th and 40th Weeks, Commencing Monday, Nov. 28, 1898. FIRST TIME IN AMERICA IN ENGLISH. G. PUCCINI'S GRAND OPERA, IN FOUR ACTS, LA BOHEME (THE BOHEMIANS). Cast of Chakacters. RUDOLPH, a poet J ^ Q ^^ MARCEL, a painter W. G. Stewart SCHAUNARD, a musician Harold L. Butler COLLINE, a philosopher Herbert Witherspoon BENOIT, a landlord E. N. Knight ALCINDORO, a counsellor of state Frank Moulan PARPIGNOL J. G. Gibson SERGEANT S. P. Veron f Yvonne de Treville " 1 Adelaide Norwood MUSETTA Villa Knox Students, Work-Girls, Citizens, Shopkeepers, Street Venders, Soldiers, Restaurant Waiters, Boj-s, Girls, etc. Place— Paris. Time— About 1830. Synopsis op Scenery. ACT I.— In the attic. ACT II. — In the Latin Quartier. ACT III.— The Barriere d'Enfer. ACT IV.— In the attic. (By Frank King.) 77 FBANK EANNEY. 78 41st Week, Commencing Monday, Dec. 12, 1898. FAUST. STANDARD OPEEA, BY CHARLES GOUNOD. I Jos. F. Sheehan Cast of Characters FAUST (< , j Chas. 0. Bassett VALENTINE Wm. G. Stewart MEPHTSTOPHELES I " ^ * ChaS6 I Oscar Philip Kegneas WAGNER Harold Butler MARGUERITE I ....Eloise Morgan ) Yvonne de Treville SIEBEL Lizzie Macnichol MARTHA Rose Leighton Chorus of Students, Soldiers, People, Demons, etc. Synopsis of Scenery. ACT I.— Studio of Dr. Faust. ACT II.— The market square. ACT III. — Marguerite's garden. ACT IV.— The church corridor. ACT V.— In front of the church. ACT VI.— The prison. (By Frank King.) 79 ) % '■ ^HH^ I ^^^^^^^ttrik ' iu ~ ^Vk ■ 1 < f^| V HBh^' ^^ "a '#J| . ■ * ! '^PSP jBSBiL' ■ . » ■ ■ » ■'._-■ • _J LOUIS CAS AV ANT. SO 4-2d Week, Commencing Monday, Dec. 19, 1899. BALPE'S BEAUTIFUL BOHEMIAN GIRL. STANDARD OPERA, IN THREE ACTS. Cast of Characters. COUNT ARNHEIM, Governor of Presburg Wm. G. Stewart THADDEUS, a proscribed Pole Jos. F. Sheehan FLORESTEIN, nephew of the Count Frank Moulan DEVILSHOOF, chief of the gypsies E. N. Knight CAPTAIN OF THE GUARD H. L. Owens ARLINE, daughter of the Count Adelaide Norwood BUDA, her attendant Georgie Deland QUEEN OF THE GYPSIES Lizzie Macnichol Chorus of Nobles, Soldiers, Gypsies, Retainers, and Peasants. Synopsis of Scenery. ACT I. — The Count's chateau, near Presburg. ACT II. — Scene 1. — The gypsy encampment. Scene 2. — On the road to the fair. Scene 3. — The fair at Presburg. Scene 4. — The Hall of Justice. ACT III. — Reception-room in the Count's chateau. (By Frank King.) 81 WILLIAM MERTEXS. 8? 43d Week, Commencing Monday, Dec. 26, 1898. ANNIVERSARY WEEK— ONE YEAR OF OPERA IN ENGLISH. LURLINE. GRAND OPERA, IN FOUR ACTS, BY WILLIAM VINCENT WALLACE. Cast of Chaeactebs. COUNT RUDOLPH, a young nobleman j ^^B^sett WLLHELM, his friend H. L. Weston RHINEBERG, the River King { ^ <*■ Stewart & | Harry L. Chase THE BARON TRUENFELS Frank Moulan ZELLECK, a gnome E. N. Knight Vassals of Rudolph, Attendants of Baron, Conspirators, Pages, Water Spirits, etc. TTTT , TT _ ...,_,.„ ( Yvonne de Treville LURLINE, Nymph of the Lurlei-Berg J _, . ' J e \ Eloise Morgan GHIVA, the baron's daughter Lizzie Macnichol LIBA, a Spirit of the Rhine Marion Ivel Naiads, Nymphs, etc. Scene — The banks and waters of the Rhine. Synopsis of Sceneby. ACT I. — Scene 1. — Cave on the banks of the Rhine. ' Scene 2. — Hall in Baron Truenfel's castle. Scene 3. — Banquet-hall in Rudolph's castle. ACT II. — Scene 1. — Home of Lurline, beneath the Rhine. Scene 2. — Baron Truenfel's castle. Scene 3. — Same as Scene 1. Rudolph returns to earth. ACT III. — Scene 1. — Exterior of Rudolph's castle. Scene 2. — The Lurlei-Berg. ACT IV.— Rudolph's castle. (By Frank King.) 83 4-4th Week, Commencing Monday, Jan. 2, 1899. MARTHA. GRAND OPERA, IN FIVE ACTS, BY FLOTOW. Cast of Characters. LADY HARRIET DURHAM, maid-of-honor j Adelaide Norwood to the Queen 1 Laura Millard , . ,,„,, , ... . -, C Lizzie Macnichol NANCY, her waiting-maid J . LORD TRISTAN MILKEPORD, Lady Harriet's cousin, E. N. Knight PLUNKETT, a wealthy farmer { ^' ?' ^^f* ' ■> | E. L. Weston LIONEL, his adopted brother, afterwards Earl ( Jos. F. Sheehan of Derby j Chas. O. Bassett THE SHERIFF Frank Moulan FOOTMAN Chas. Scribner CLOWN (with bear) Jules Carr Chorus of Farmers, Servants, Hunters and Huntresses, Courtiers, etc. Synopsis of Scenery. ACT I. — Lady Harriet's boudoir. ACT II. — Hiring Fair at Richmond. ACT III.— Kitchen in Plunkett's farmhouse. ACT IV. — Exterior of an inn near Richmond. ACT V. — Scene 1. — Interior of Plunkett's house. Scene 2. — Hiring Fair at Richmond. (By Frank King.) 84 45th and 46th Weeks, Commencing Monday, Jan. 9, 1899. WAGNER'S GRAND OPERA, LOHENGRIN, IN FOUR ACTS. Cast op Chahactebs. n-n-Kt-nir T T-- j r. f Herbert Witherspoon HEiSRl L, King- of Germany ) _, , , _ ^f , a " I Harold L. Butler LOHENGRIN, Knight of the Holy Grail J , J ° S ' F " S ^ eehau B J [ Chas. O. Bassett FREDERICK TALRAMUND, a noble of Brabant. 1 ^ rr ^ verl11 Max Eugene HERALD E. N. Knight GOTTFRIED, Elsa's brother Emma King f. .Yvonne de Treville ELSA, of Brabant J . . . Adelaide Norwood I Frances Miller f Lizzie Macnichoi ORTRUD, wife of Talramund J Adelaide Norwood (^... Viola Pratt Gillette Synopsis of Scenery. ACT I. — A meadow on the banks of the Scheldt, near Antwerp. ACT II. — Palace and fortress at Antwerp, with the Kemanate on the left and the Cathedral on the right. ACT III. — Tapestry chamber in the palace. ACT IV.— Same as Act I. (By Frank King.) 85 47th Week, Commencing Monday, Jan. 23, 1899. THE QUEEN'S LACE HANDKERCHIEF. COMIC OPERA, IN THREE ACTS, BY JOHANN STRAUSS. Cast of Characters. THE KING Lizzie Macnichol THE QUEEN Eloise Morgan DONNA IRENE, the Queen's confidante Laura Millard MARQUISE OE VILLAREAL Josie Intropodi CERVANTES, a poet Jos. P. Sheehan COUNT VILLAIOBOIS Y RODRIGUEZ, Prime Minister and head of the Regency Henry Norman DON SANCHO DE AVELLANEDA Y VILLAPINGUEDONES, tutor to the King Prank Moulan MARQUIS DE LA MARECHA VILLAREAL, Minister of War, Frank Ranney DUKE OP PERIA, Minister of Finance J. G. Gibson COUNT SAN GREGORIO, Minister of Interior O. Risley COUNT ERMOS, Minister of Navy Albert Juhre DON DIEGO DE BARADOS, Minister of Police W. H. Pringle DANCING MASTER Chas. G. Scribner MASTER OP CEREMONIES Amelia Fields ANTONIO, innkeeper of the Sierra Nuaro W. H. Brown Students, Doctors, Ladies and Gentlemen of the Court, Toreadors, Brigands, etc. Synopsis of Scenery, ACT I. — The Garden of the Prime Minister's Palace. ACT II. — Coronation Chamber in Palace of the King of Portugal. ACT III. — Mountain scene in the Sierras. (By Frank King.) 86 48th Week, Commencing Monday, Jan. 30, 1899. Lucia di Lammermoor. STANDARD GRAND OPERA, BY DONIZETTI. Cast of Characters. LORD EDGAR . OF RAVENSWOOD ^° S ' F _ S ^ eehai J ( Chas. 0. Bassett SIR HENRY ASHTON j Wm. G. Stewart | Harry L. Chase SIR ARTHUR BUCKLAW Clinton Elder BIDE-THE-BENT, follower of Sir Henry Henry Norman NORMAN, also in the train of Sir Henry E. L. Weston „„ . ( Yvonne de Treville LUCY ASHTON, Sir Henry's sister - . , , ., _ T , ' I Adelaide Norwood ALICE, her confidante Maude Lambert Chorus of Ladies and Knights, followers of Sir Henry Ashton. The scene is partly laid in the castle and grounds of Sir Henry's estate, and partly in and near the Castle of Ravenswood. Period — Seventeenth century. Synopsis op Sceseby. ACT I. — Scene 1. — Forest near Ravenswood. Scene 2. — Gardens of Sir Henry's mansion. ACT II. — Scene 1. — Chamber in Sir Henry's mansion. Scene 2. — Drawing-room at Sir Henry's. ACT III. — Reception-room in Sir Henry's mansion. ACT IV.— The tomb of the Ravenswoods. (By Frank King.) 87 49th Week, Commencing Monday, Feb. 6, 1899. H. M. S. PINAFORE. NAUTICAL COMIC OPEEA, IN TWO ACTS, BY W. S. GILBERT AND SIE ARTHUR SULLIVAN. Cast of Characters. THE RT. HON. SIR JOSEPH PORTER, K.C.B., First Lord of the Admiralty Frank Moulan CAPTAIN CORCORAN, commanding H. M. S. J Wm. G. Stewart " Pinafore " 1 Richard Ridgeley RALPH RACKSTRAW, able seaman Clinton Elder DICK DEADEYE, able seaman Henry Norman BILL BOBSTAY, boatswain H. L. Butler SERGEANT OF MARINES Wm. Anthony JOSEPHINE, the Captain's daughter Eloise Morgan LITTLE BUTTERCUP, a bumboat woman Lizzie Macnichol HEBE, Sir Joseph's first cousin Maude Lambert Chorus of Sailors, Sisters, Cousins, Aunts, etc. Scene — Deck of H. M. S. " Pinafore," off Portsmouth, England. (By Walter Burridge.) 88 FOLLOWED BY LEONCAVALLO'S I PAGLJACCI. (PUNCHINELLO). (IN ENGLISH.) Cast of Characters. NEDDA (in the play, Columbine'), a strolling ( Adelaide Norwood player, wife of Canio 1 .... Laura Millard CANIO (in the play, Punchinello), master of the troupe, Jos. F. Sheehan TONIO (in the play, Taddeo), the clown Wm. G. Stewart PEPPE (in the play, Harlequin) J. G. Gibson „„,,,„ .„ f .. .Richard Ridgeley SILVIO, a villager ' , „, j George A. Chapman Villagers. The scene is laid in Calabria, near Montalto, on the Feast of the Assumption. (Painted by Frank King.) Period— Between 1865 and 1870. sO 50th Week, Commencing Monday, Feb. 13, 1899. H. M.S. PINAFORE. NAUTICAL COMIC OPERA, IN TWO ACTS, BY W. S. GILBERT AND SIR ARTHUR SULLIVAN. Cast of Chaeactees. THE RT. HON. SIR JOSEPH PORTER, K.C.B., First Lord of the Admiralty Prank Moulan CAPTAIN CORCORAN, commanding H. M. S. " Pinafore," Harry L. Chase RALPH RACKSTRAW, able seaman Clinton Elder DICK DEADEYE, able seaman Henry Norman BILL BOBSTAY, boatswain H. L. Butler JOSEPHINE, the Captain's daughter Eloise Morgan LITTLE BUTTERCUP, a bumboat woman Lizzie Macnichol HEBE, Sir Joseph's first cousin Maude Lambert Chorus of Sailors, Sisters, Cousins, Aunts, etc. Scene — Deck of H. M. S. " Pinafore," off Portsmouth, England. (By Walter Burridge.) FOLLOWED BY Cavalleria Rusticana. (RUSTIC CHIVALRY). LYRIC MELODRAMA, IN ONE ACT, BY PIETRO MASCAGNI. Cast of Chaeactees. ojmrrrT7r7A -li ■ i f ....Laura Millard SAN I UZZA, a village girl J | Adelaide Norwood LOLA, Alfio's wife Lizzie Macnichol TURIDDU, a returned soldier Jos. F. Sheehan ALFIO, the village teamster W. G. Stewart LUCIA, Turiddu's mother Maude Lambert Chorus of Villagers. Scene — A Sicilian street. Easter morning. (By Frank King.) 90 51st Week, Commencing Monday, Feb. 20, 1899. MIGNON. (IN ENGLISH.) GRAND OPERA, BY AMBROISE THOMAS. Cast of Characters. MIGNON, a stolen child { ' ^ Lin nd 2d. FAUST. STANDARD OPERA, BY CHAS. GOUNOD. ( Jos. F. Sheehan I E. C. Hedmondt Harry Luekstone . . . .Homer Lind ( 0. P. Regneas Cast of Chakaoteks FAUST VALENTINE MEPHISTOPHELES | . .E. N. Knight WAGNER H. L. Owen MARGUERITE I Y J.° n ° ^J™** I Adelaide norwoocl SIEBEL Lizzie Macnichol MARTHA Gertrude Quinlan Chorus of Students, Soldiers, People, Demons, etc. Synopsis of Scenery. ACT I.— Studio of Dr. Faust. ACT II.— The market square. ACT III. — Marguerite's garden. ACT IV.— In front of the church. ACT V. — The church corridor. ACT VI.— The prison. (By H. Logan Eeid.) 101 WEDNESDAY MATINEE AND EVENING— May 3d. VERDI'S GRAND OPERA, IL TROVATORE. (IN ENGLISH.) Cast op Characters. ,._„„„„. f Adelaide Norwood LEONORA ) „, ) Yvonne de Treville INEZ, her attendant Gertrude Quinlan AZUCENA, a gypsy, and pretended mother of Manrico, Lizzie Macnichol MANRICO, the Troubadour \ ^\ ^Z I E. C. Hedmondt RUIZ, his follower Roland Paul AN OLD GYPSY W. H. Brown COUNT DI LUNA, rival of Manrico { Harry Luckstone • j Homer Lind FERRANDO, follower of the Count E. N. Knight The scene is partly laid in Biscay and partly in Aragon, in the beginning of the Fifteenth Century. Synopsis op Scenery. ACT I.— Scene 1.— Hall in the Palace of Allatena. Scene 2. — Gardens of the Palace. ACT II. — The gypsy camp. ACT III. — The convent grounds. ACT IV. — Scene 1. — Camp of the Count's soldiers. Scene 2. — Room in the Palace of Castellar. ACT V.— Scene 1.— The prison. Scene 2. — The tower. (By H. Logan Reid and Frank King.) 102 THURSDAY AND FRIDAY EVENINGS— May 4th and 5th. ROMEO AND JULIET. GRAND OPEEA, IN FIVE ACTS, BY GOUNOD. Cast of Characters. „_ ( Jos. F. Sheehan ROMEO i _, „ _ , ,. I E. C. Hedmondt MERCUTIO, his friend Harry Suckstone THE PRINCE Percy Walling PARIS Roland Paul CAPULET, father of Juliet Homer Lind TYBALT, Juliet's cousin Charles Campbell ERIAR L. B. Merrill BENVOLIO *. . J. G. Gibson GREGORIO E. N. Knight „_ ,.,._, ( Yvonne de Treville JULIET, daughter of Capulet ' .-,,.,„ -, j Adelaide jNorwood STEPHANO, page to Romeo Lizzie Macnichol GERTRUDE, nurse to Juliet Delia Niven Synopsis of Scenery. ACT I. — Scene 1. — Vision of the Montagues and Capulets. Scene 2. — Interior of Capulet's palace. ACT II. — Scene 1. — Garden of Capulet's house. ACT III.— Scene 1.— The chapel. Scene 2. — A street in Verona. Exterior of Capulet's house. ACT IV— Juliet's chamber. ACT V.— The tomb. (By H. Logan Reid.) 103 SATURDAY MATINEE AND NIGHT-May 6th. AI DA. GRAND OPERA, IN FOUR ACTS, BY GIUSEPPE VERDI. Cast or Characters. ( Yvonne de Treville | Effie Stewart KING E. N. Knight AMNERIS f Lizzie Macnichol ) Greta Risley RHADAMES { 1°% Vi""*^ [ E. C. Hedmondt RAMiTS L. B. Merrill AMONASRO '. j Harry Luckstone | Homer Lmd MESSENGER Roland Paul Priests, Priestesses, Soldiers, Egyptians, etc. Synopsis of Scenery. The action takes place at Memphis and Thebes, during the reign of the Pharaohs. ACT I. — Scene 1. — Hall in the King's palace at Memphis. Scene 2. — The Temple of Vulcan. ACT II. — Scene 1. — The boudoir of Amneris. Scene 2. — Triumphal scene. Entrance to City of Thebes. ACT III.— Exterior of the Temple of Isis, River Nile. ACT TV—Scene 1.— Hall in the King's palace. Scene 2. — Interior of the Temple of Vulcan, showing tomb underneath. (By H. Logan Reid.) 104 OPENING OF THIRD SEASON. 62d Week, Commencing Monday, Oct. 2, 1899. WAGNER'S DIE MEISTERSINGER. (THE MASTER-SINGERS). FIRST TIME IN ENGLISH IN AMERICA. Cast of Characters. ti t vo o . mrt! 1,1 i i \ William Mertens HAJsS SACHS, cobbler \ / J \ I | Oscar P. Regneas VEIT POGNEE, goldsmith . . . .3 K N ' Kni ^ ht 6 I „ I j H. L. Butler EUNZ VOGELGESANG / £ 1 Edgar Mills KONRAD NACHTIGAL, buckle-maker. [ a 1 ....Percy Walling SIXTUS BECKMESSER, town clerk.. \ S J Homer Lind FRITZ KOTHNER, baker / S \ .Harry Luekstone BALTHAZAR ZORN, pewterer I J J '.Geo. Evans ULRIC EISSLINGER, grocer I ^ I W. C. Wilson AUGUSTUS MOSER, tailor 1 J Clarence Van Pelt HERMANN ORTEL, soap-boiler ] | . .Wilbur F. Starr HANS SCHWARTZ, stocking-weaver... ; I ...J.B.Hendricks HANS VOLZ, coppersmith ' > J. Lucas SIR. WALTER VON STOLZING, a young f ..Barron Berthald Franconian knight 1 Joseph F. Sheehan DAVID, apprentice to Hans Sachs Harry Davies t^V \ -n > i i_i ( Yvonne de Treville EVA, Pogner s daughter ,) fe { Cecile Hardy mmiiTTiw. -r^ i ( Marie Mattfeld MAGDALENA, Eva's nurse J _, j Maude Lambert WATCHMAN Percy Walling Burgers of all Guilds, Journeymen, 'Prentices, Girls, and People. Synopsis of Scenery. Scene — Nuremberg in the middle of the sixteenth century. ACT I.— Interior of St. Katherine's Church. (Moses.) ACT II. — A street, with the houses of Pogner and Sachs. (Moses.) ACT III.— Sachs' workshop. (Moses.) ACT IV. — An open field by the Pegnitz. (Moses.) 105 63d Week, Commencing Monday, Oct. 9, 1899. ROMEO AND JULIET. GRAND OPERA, IN FIVE ACTS, BY GOUNOD. Cast or Characters. E0ME0 f Joseph Sheehan 1 Barron Berthald MERCUTIO, his friend Harry Luckstone THE PRINCE Percy Walling PARIS G. Baci CAPULET, father of Juliet , Homer Bind TYBALT, Juliet's cousin Harry Davies ( Oscar Philip Regneas FRIAE { H. L.Butler BENVOLIO Lyndhurst Ogden GREGORIO E. N. Knight JULIET, daughter of Capulet { ' — ' ' G ™ Ce °° 1 ^ . | Yvonne de Treville STEPHANO, page to Romeo Marie Mattfeld GERTRUDE, nurse to Juliet Delia Niven Synopsis of Scenery. ACT I. — Scene 1. — Vision of the Montagues and Capulets. Scene 2. — Interior of Capulet's house. ACT II— Garden of Capulet's house. ACT III.— Scene 1.— The chapel. Scene 2. — A street in Verona. Exterior of Capulet's house. ACT IV.— Juliet's chamber. ACT V— The tomb. (By Thos. G. Moses.) 106 64-th Week, Commencing Monday, Oct. 16, 1899. 500tlL T±xrxe= AIDA. . .GRAND OPERA, IN POUR ACTS, BY GIUSEPPE VERDI. Cast of Characters. , T _. f....Selma Kronold " 1 Yvonne de Treville KING E. N. Knight AMNERIS ' j ....Mary Linck ) Bermce Holmes RHADAMES j Joseph F. Sheehan ] ...Barron Berthald RAMFIS {•• H ^ L ; BUtler ) O. P. Regneas AMONASEO | William Mertens j Harry Luckstone MESSENGER '. Harry Davies Priests, Priestesses, Soldiers, Egyptians, etc. Synopsis of Scenery. The action takes place at Memphis and Thebes during the reign of the Pharaohs. ACT I. — Scene 1. — Hall in the King's palace at Memphis. Scene 2. — The Temple of Vulcan. ACT II. — Scene 1. — The boudoir of Amneris. Scene 2. — Triumphal scene. Entrance to the city of Thebes. ACT III. — Exterior of the Temple of Isis. River Nile. ACT IV. — Scene 1. — Hall in the King's palace. Scene 2. — Interior of Temple of Vulcan, showing tomb beneath. (By Thos. G. Moses.) Alternates for Aida. Monday S. Kronold Tuesday Y. de Treville. Wed. Mat S. Kronold Wed. Eve Y. de Treville. Thursday Y. de Treville. Friday S. Kronold Saturday Mat. .Y. de Treville. Saturday Eve, .S. Kronold RHADAMES. AMONASRO. AMNERIS. RAMFIS. .J. F. Sheehan. .W. Mertens... .M. Linck... . .H. L. Butler B. Berthald ... .11. Luckstone. .M. Linck . . . . .0. P. Regneas ,J. F. Sheehan. . W. Mertens. . . .B. Holmes. . . -H. L. Butler B. Berthald ... .H. Luckstone. .M. Linck. . . . . .0. P. Regneas B. Berthald ... .H. Luckstone. .M. Lihck... . .0. P. Regiieas ,J. F, Sheehan. . W. Mertens. . . .M. Linck , .H. L. Butler B. Berthald . . . ,H. Euckstone. .M. Linck. . . , .0. P. ReEjneas J. F. Sheehan. .B. Holmes. . , ,W. Mertens 107 STORIES OF THE OPERAS. STORY OF THE QUEEN'S LACE HANDKERCHIEF. The action of the opera takes place at the Court of Portugal, hi 1570. The kingdom is ruled by the Ministry, headed by the Prime Minister, who is in league with Philip II. of Spain, and who, to keep the power in his own hands, foments discord be- tween the young Queen and the King, and encourages the latter in all sorts of dissipations. Cervantes, the poet, banished from Spain, is at the time a Captain in the Royal Guards, and in love with Irene, first lady-in-waiting to the Queen. These two be- friend the young King and Queen, and desire to depose the Ministry. Cervantes is appointed reader to Her Majesty, and her neglected girlish heart conceives a sentiment for him; she writes on her handkerchief, " A queen doth love thee, yet art thou no king," and placing it in the MSS. of " Don Quixote," hands it to him. The book is seized, and as " Don Quixote " is the Portu- guese Minister of War and " Sancho Panza " the Minister of Instruction, Cervantes is arrested for treason in libelling them. Irene and the King effect his release by proving that he is insane; and the faithful sovereigns ascend the throne and de- clare the Regency at an end. The Prime Minister then plays his last card, and hands the King the Queen's lace handkerchief with the compromising words written on it. Cervantes is again arrested, and the Queen banished to a convent. Escaping from his guards, however, Cervantes joins the brigands. They capture the Queen as she is travelling to the convent, and dis- guising themselves as host and waiting-maid of the wayside inn, they serve the King, who comes that way hunting, and explain all to him, the compromising handkerchief being de- clared a message sent to the King by his wife through Cervantes' friendly hand. 109 STOEY OF IL TEOVATOEE. The old Count di Luna had two sons, not much apart in age. One night, while they were yet both in their infancy, an old gypsy woman was discovered by the servants near the cradle of the younger of the two children. The gypsy was quickly and violently expelled from the castle; but from that day the child's health began to fail: No remedies proving of avail, the gypsy was suspected of having bewitched the child. Search was instituted, the woman taken prisoner, and agreeably to the bar- barous modes of punishment of the times, burned alive. A daug-hter of the gypsy, with her child in her arms, witnessed the execution. To her the unhappy victim of superstition bequeathed the task of vengeance. During the night following, the young gypsy managed to steal the youngest child of the Count from the castle. She hurried with it to the stake, where the flames were still raging over the remains of her ill-fated mother. Arriv- ing there, she by a fatal mistake hurled her own child into the flames instead of the young Count. She discovered her error too late. She fled, taking the child with her, joined her tribe, and brought him up — Manrico, the Troubadour — as her own son, trusting the secret of his parentage to no one, and waiting for a favorable moment to make him the tool of her vengeance against his own kindred. The old Count leaves his oldest son sole heir of his title and possessions, but doubting up to the last moment the death of his last-born. Manrico, grown up a valiant and daring knight, entered a contest at a tourney, disguised, won all the honors, and was crowned victor by the Duchess ^Leonora. From this moment dated a passionate love, shared by both. Unhappily, the Count di Luna (brother to Manrico, although this was un- known !to both of them) was also smitten with a deep passion for the Duchess. He fights a duel with Manrico, and is defeated. Manrico joins the army opposing his country's forces, and is left for dead on the . battlefield of Pellia. His Prince, hearing that Manrico is still alive, bids him repair to the fortress of Castellar and defend it against the forces of Count di iLuna. At the same time he communicates to him that the Duchess Leonora, believing in the current reports of his death, is about to take the veil that very evening at a convent in the neighbor- 110 hood of Castellar. Upon receipt of this message, Manrico at once departed, and arrived at the convent just in time to rescue Leon- ora; who was about to be carried off forcibly by the Count di Luna and his followers. The Troubadour conducted the Duchess to Castellar, which place was immediately closely besieged by the Count di Luna's troops. The Count di Luna, after storming the fortress of Castellar the day following — without finding a trace of Leonora — took his prisoners to the capital of the .province. Here, on the eve of the day fixed for the execution of the son and mother, Leonora suddenly appeared before the Count, offering him .her hand in exchange for the life of Manrico. The Count consents, and Leonora is admitted into the dungeon to restore Manrico to liberty. ,Before she enters, however, she takes poison, which she carries concealed in a ring on her finger. Manrico refuses to accept his liberty, accusing the Duchess of basely betraying his affections. During the day the ( poison begins to take effect. Manrico discovers too late the extent of the sacrifice. The Count enters, understands at a glance what has happened, and orders Manrico to be beheaded immediately. While his order is being obeyed, he souses the gypsy from the stupor in which she has been lying motionless in a corner of the dungeon. He drags her to fhe window, showing her the execution of her supposed son. THE STORY OP THE FENCING MASTEE. The story relates the adventures of a young girl, Francesca, whose father is a fencing master. He has educated her as a boy, teaching her fencing among other manly accomplishments. She takes his place as master-at-arms. She loves Fortunio, right- ful heir to the throne of Milan. He believes her to be a boy. When the usurping Duke and his household magician scheme to remove Fortunio, Francesca accompanies him. Fortunio has been in love with the young Countess Filippa, while the Mar- chesa Goldoni, a young widow, is enamored of the boyish graces of Francesca. The comedy is supplied by the bankrupt Duke of Milan, who has a private astrologer to whom such fabulous sums have been paid for horoscopes that the ducal exchequer is depleted. The Duke has mortgag-ed his palace, one room at a 111 time, to the money-lenders of Milan. Subsequently the Duke employs a band of Venetian bravos to suppress Fortunio, the bravos being a regularly organized stock company, conducted in a strictly businesslike manner. The first act ends with the departure of Fortunio and Francesca to Venice on a political mission. The second act shows Venice by moonlight, and the finale represents the historic ceremony of the marriage with the Ad- riatic, an elaborate stage pageant, historically accurate, the Bu- centaur, or the golden barge, being an exact copy of the original royal craft. Filippa is sent to Venice to be married, but For- tunio plans to elope with her, and trusts Francesca with the seci'et. In her jealousy of Fortunio, Francesca betrays the plan to his rival, Guido, who carries off Filippa. Discovering Fran- cesca's -treachery, Fortunio provokes a duel with her, wounds the supposed youth, and compels her to reveal her identity. Fortunio is arrested by the Duke, and is about to be taken to a Venetian dungeon, when Francesca declares himself to be the real traitor, and is led away in his place. In the third act Francesca escapes from prison in woman's dress, provided by the Marchesa, who still believes her to be a man. Filippa gives a fete, at which she is to announce the name of her future husband. Fortunio has an appointment with her, but Francesca, provided with a mask and domino like Filippa's, takes the place of the Countess, and learns from For- tunio that he really loves Francesca, and not Filippa. The Duke and Pasquino are driven from Milan, while Fortunio is restored to the throne of his ancestors. STORY OF THE LILY OF KILLARNEY. The opera of " The Lily of Killarney " is a musical version of the drama of " The Colleen Bawn," whose thrilling and yet simple history is admirably adapted to lyrical expression. The curtain rises on a party of Hardress Cregan's friends enjoying the hospitality of the Hall at Tore Cregan, exhibiting the care- less joyousness of the Irish temperament, and characteristically ending in a race by moonlight to try the relative mettle of two of the guests' horses. Mrs. Cregan, left alone, receives the visit 112 of Corrigan's " middle-man." Vulgar, obsequious, and grasp- ingly ambitious, he holds a mortgage on the Cregan estates, and is anxious to see young Cregan married to the heiress Ann Chute as the only chance of payment, and failing which he hints at being willing to take the hand of the still attractive Mrs. Cregan in satisfaction, an idea which is scornfully repulsed by the proud matron. Hardress Cregan's humble, confident, and faithful follower, the boatman, Danny Mann, is now heard sing- ing, and Corrigan informs Mrs. Cregan that he is waiting to take her son to see the Colleen Bawn, the peasant rival of Ann Chute, and to confirm his information he causes her to watch the signal exchanged by Hardress with his mistress, whose lig-ht is seen burning- at her cottag-e window across the lake, and is extinguished simultaneously with that held by Hardress, who has appeared on the stage at Danny's vocal summons. Danny and Hardress then disappear on their joint expedition, leaving Mrs. Creg'an in despair at the discovery, and Corrigan tri- umphant. After an interview between Corrigan and Myles na Coppaleen, the peasant love of Colleen Bawn, still devoted to her though knowing her to be another's, in which he tries to get information as to the secret amours of Hardress, we are introduced into the cottage of the Colleen Bawn, where Father Tom, the good priest who watches over her, endeavors to per- suade her to get Hardress to proclaim his marriage to her openly. When the object of the poor girl's love appears, how- ever, he attempts to make her abandon the marriage certificate and promise to conceal their union altogether: but Myles in- tervenes to prevent the success of his base scheme, and the priest reappearing, binds her by an oath never to part with her " marriage lines." Hardress, enraged at her submission, departs, bidding her farewell forever, and leaving her senseless from emotion. Hardress, in Act II., is seen prosecuting his suit with Ann Chute, but haunted with remorse at his desertion. Danny Mann, whose devotion knows no limits, noting his master's trouble, offers to do away with its cause by a summary process, but being repelled with horror, he still clings to the only solu- tion in his eyes of the difficulty, and expresses his readiness to act if young Cregan will but send his glove as a token secretly understood between them that the Colleen is to disappear. Meanwhile Corrigan still presses his loathsome alternative on Mrs. Cregan, when Hardress, who is present, threatens to brain 113 him, and the middle-man retires with taunts and threats. Danny Mann overhears this scene, and insinuates to Mrs. Cregan that if she can get her son to send his glove as a token he will soon remove the only impediment to the happiness of the family he is attached to. Mrs. Cregan disappears awhile and re-enters with the desired symbol of her son's wishes, which Danny Mann eager- ly seizes, and proceeds to act upon it. Poor Eily O'Connor is in- duced by him to enter his boat under the notion her husband has sent for her, and though frightened by the desperate man- ner and menacing hints of Danny, who has primed himself with drink for his odious task, she commits herself to his care, in spite of Myles na Coppaleen's warnings. Her alarm is soon shown to be well founded, when Danny Mann rows her to a solitary water cave, and bidding her step out upon a rock, tells her she must resign the lines or take them with her to the bot- tom of the lake. Myles, who uses the cave as a secret haunt, prevents this threat from being literally fulfilled by shooting Danny Mann, whom he takes for an otter in the dim light, and saving the Colleen Bawn, whose body he spies beneath the water, and rescues by means of a " header." The end of the tale is almost as soon told as guessed. Hardress is arrested for murder, as an accomplice of Danny Mann, who, wounded but not dead, makes a dying confession of the scheme against the Colleen Bawn's life. Corrigan, who has brought the soldiery about Ann Chute's house at the moment of young Cregan's marriage with the heiress, is nearly triumphing in his revenge, when Myles na Coppaleen produces the living Eily O'Connor, or rather Eily Cregan, Hardress' lawful wife, and Mrs. Cregan absolves her son of even intentional guilt by confessing that she alone pro- cured the glove that was to convey to Danny Mann the order to execute his wicked design. The scene is laid in Ireland. THE STOBY OF PAUL JONES. The opera presents in romantic form episodes in the career of Paul Jones, a very important character in American naval history. The opening of the opera tells the story of Paul's adoption by the old smuggler Bouillabaise, his apprenticeship in the city of St. Malo, and his final resolve to tempt the dangers of the deep in order to acquire the wealth necessary to gain 114 the hand of Yvonne, the niece of his master, Bieoquet. Act II. opens with Yvonne, at the expiration of the three years during which Paul has been absent, hoping and longing- for Paul's re- turn on the eve of her betrothal to Kufmo, a Spanish lieutenant, detested by her, but urged upon her by her uncle, Bieoquet. Then comes Paul's return; but Eufino plays one more card, and the curtain falls on the arrest of Paul as a buccaneer. The scene then changes to the Island of Estrella, on the Spanish main, at the palace of the Governor, Don Trocadero, uncle of Bufino, whither also journey Bieoquet and his niece, voyaging to the west. Thither also comes Paul Jones, with his gallant band of American privateers; and after much confusion, caused by the mistaking of Bieoquet for Paul, the curtain falls on the happy reunion of Paul and Yvonne. STORY OF MIGNON. Mignon, the daughter of noble parents, has, when a child, been stolen by gypsies. Her mother dies of grief; while Lo- thario, the broken-hearted father, forsakes his home and roams as a minstrel in search of his darling child. For years Mignon leads a wandering life with the gypsy tribe, of which her beauty renders her the most prominent ornament. The chief, Giarno, compels the hapless g-irl to dance and go through various other performances in order to obtain money from the inhabitants of the towns through which they pass, and harshly threatens her with his stick whenever from fatigue she refuses to do his bidding. Wilhelm, a young student on his travels, happens on one of these occasions to be a spectator of Giarno's ferocity; and in order to prevent the recurrence of such ill-treatment, he purchases Mignon from her cruel master. The friendless Mignon, deeply touched by Wilhelm's kindness, gradually con- ceives for him an ardent and irrepressible attachment. Wil- helm, however, totally unconscious of the affection, falls a prey to the fascinations of Filina, a young actress on her way to perform at a neighboring castle. Foremost among the guests invited to assist at the festivities is Wilhelm. Filina is the idol of the hour, and her success in " private theatricals " at the castle serves but to increase Wil- 115 helm's fondness. Mignon, who accompanied her new master to The castle, watches with silent grief the progress of "Wilhelm's love for her rival. At length, despondent and unhappy, Mig'non is about to throw herself into a lake adjoining the castle, when a harp, played by an unseen hand, is heard, and in another moment Lothario appears. Mignon, little dreaming that it is her father, flies to the aged minstrel and implores his counsel and protection. She prays that vengeance may overtake the abode, in which her hated rival is. The performance inside the castle now terminates. Filina appears, surrounded by a crowd of admirers; when a lurid glare illumines the scene — the castle is in flames! The aged Lothario, half-crazed as he is with grief and trouble, has set fire to the castle. A scene of terrible con- fusion ensues. Mignon is nowhere to be found. Wilhelm, after an eager and fruitless search for her, rushes wildly amid the burning rafters, and in a few minutes reappears, bearing the hapless girl, fainting, in his arms. In a room in Lothario's manorial residence lies Mignon, dan- gerously ill from the peril she had so narrowly escaped, as well as from the struggle to conceal the affection pent up in her breast. "Wilhelm has discovered, from the broken sentences which have escaped Mignon during her illness, the secret of her affection for him. Through the medium of a girdle worn by Mignon when a little child, as well as by her utterance of a prayer taught her in her infancy, Lothario discovers that Mignon is his long-lost child. STOKY OP MARTHA. Lady Harriet, tired of the Court life of Queen Anne, visits the Servants' Fair at Richmond, in the disguise of a servant girl in search of employment. She is accompanied by Nancy, her maid, and Sir Tristan, a cousin and admirer of hers, rather advanced in years. Two young farmers, Lionel and Plunkett, also go to the fair. Lionel is the adopted child of Plunkett's parents, both now dead. His parentage is unknown, but he has a ring- which he has been commanded to give to the Queen should he ever be in distress. The two farmers offer to engage the young women, and the latter, relishing the joke, take the earnest- money, unaware that this binds them to the farmers' service 116 for one year. They resist, but the farmers drive off to their farms with them. Arrived here, the young men find that the women know nothing of housekeeping 1 . Lionel becomes en- amored of Lady Harriet (who has adopted the name of Martha), and proposes marriage. During the night Tristan comes with a carriage and assists the two ladies to escape. A short time after, the Queen, with the ladies of her Court, hunts in the forest adjoining Plunkett's farm. Plunkett and Lionel meet the party and recognize Martha and Nancy. Lionel, driven almost frantic by Martha's coldness, sends his ring to the Queen, by which it is found out that Lionel is the only son of the dead Earl of Derby. Queen Anne causes the title and all possessions of the earl to be restored to the son. Lady Harriet is deeply in love with Lionel, but the latter, feeling his snubbing keenly, refuses to be placated. Thereupon the lady has a part of her park transformed into a facsimile of the market-place at Rich- mond. Farmers and servants appear, and Martha, in her peasant's dress, mingles in the throng. When Lionel sees her all his love returns, and the two are at last united, as are also Plunkett and Nancy. STORY OP NANON. Nanon is the hostess of the inn, Golden Lamb, which has gained renown, both by a casual visit of Louis XIV. and by Nanon's beauty and virtue. On this account, Director Marsellac. of the royal theatre, takes his nephew Hector, an inexperienced country nobleman, to see Nanon. At the same time, the famous beauty, Ninon de l'Enclos, pays a visit to the Golden Lamb to get secretly a sight of her rival, as she has become suspicious that her lover, the Marquis d'Aubigne, has turned his affections to Nanon. There she learns that Nanon is to be married to the drummer Grignan, and returns appeased. Grignan is the Mar- quis d'Aubigne in disguise. Nanon proposes marriage as a grate- ful surprise to her supposed drummer sweetheart, but when the notary and the wedding guests arrive, d'Aubigne causes himself to be arrested by his colonel, on pretence of having fought a duel. In her grief Nanon receives a ring and friendly compliments from Gaston, the page of Ninon de l'Enclos. and she concludes to pray that lad3 T to help her rescue Grignan, as duelling is punishable with death. 117 The second act shows the salon of Ninon on a ball night. Here we meet Marsellae, Hector, and a gallant Abbe, who is one of Ninon's lovers and also the confessor of Mine, de Main- tenon, the mistress, and later on, the wife of the king - . D'Au- bigne appears, and is joyfully received by Ninon. Nanon arrives to ask Ninon's help in saving Grignan's life. She sees d'Aubigne, whom she thinks she recognizes, but she is deceived by his court dress, and concludes that it is only a case of extraordinary re- semblance. Hector and d'Aubigne also meet, and the latter, jealous that Hector pays court to Ninon as well as Nanon, chal- lenges him, and both hurry into Ninon's garden to decide their quarrel with their swords. The third act shows the audience-room of Mme. de Maintenon. Marsellae appears to ask for his nephew's delivery, and receives it, as chance betrayed that d'Aubigne, who is a nephew of Mme. de Maintenon, gave the challenge. Ninon and Nanon both re- quest audience, to pray for grace for their respective lovers, d'Aubigne and Grignan. Nanon receives the life of Grignan as a present from the king. She presents the pardon to Ninon in order to save the life of d'Aubigne, in whom she now recognizes Grignan. Touched by so much magnanimity, Grignan offers his hand to her; Maintenon, disquieted by the sudden favor of the king' for Nanon, gives her consent, and the hostess of the Golden Lamb is made Marquise d'Aubigne. An amusing feature of the opera is the frequency with which a song of devotion to woman's charms, entitled " Anna, to Thee is My Dearest Way," is addressed to each during the three acts by the gallants. THE STORY OF CAVALLEKIA EUSTICANA. Turiddu, a young villager, is a son of Lucia, and the lover of Lola (who is the wife of Alfio, having married the latter during Turiddu's prolonged absence in military service). Turiddu wins the affection of Santuzza, whom he wrongs; while in the mean- time he is intimate with Lola. On Easter morning (the opening of the opera) Alfio is incidentally informed by Santuzza of his wife's unfaithful actions. He challenges Turiddu (biting the ear, as was the rustic Sicilian custom). Turiddu, though re- gretting his past evil course, accepts the challenge, and is killed by Alfio. 118 THE STOEY OF PIXAFOEE is too well known to need repetition in this programme. It made its writer and composer both famous, and is considered by most to be far in advance of any of their later works. The music of " Pinafore " is better known than that of any other opera ever written, and may never be supplanted in the estima- tion of the public. " The Lass who Loved the Sailor " has been sung- in every country of the civilized world, and has never yet lost its prestige. STOEY OF THE GYPSY BAEOX. The story of " The Gypsy Baron " opens with a scene in one of the small Hungarian districts on the Eiver Temes, the home of the gypsies. The old castle was once inhabited by the pro- prietor of all the land around, who, having committed some political offence, has died in exile. The son, Barinkay, has re- turned to take possession of the heritage of his father. On arriving he makes the acquaintance of the queen of the gypsies, who recognizes him as the owner of the land. Barinkay also becomes acquainted with a wealthy pig dealer who has a lovely daughter, to whose hand young Barinkay aspires. But the young lady is already promised to another, and makes it a condition that she will accept Barinkay onty when he can make her a baroness. In the meantime Barinkay is enthralled by a gypsy girl, and the old gypsy woman revealing his birth, the haughty damsel who was loath to accept him now regrets her hastiness, but is herself refused by Barinkay, who declares that he prefers the honest affection of the poor gypsy girl to the fluctuating love of the mercenary pig dealer's daughter. In the second act Saffi, the gypsy girl, helps Barinkay to find a treasure which his father concealed. Zsupan, the pig dealer, with his daughter, her governess, and a functionary from Vienna, come upon the scene. Eumors of the treasure have reached the official's ears, and he has come to see if the exchequer cannot profit by the strange occurrence. The Austrian functionary is also intrusted with the morality of His Majesty's Hungarian subjects, and inquires into the relations of Barinkay and Saffi. 119 A Hungarian Count, the Obergspan of the country, appears, fol- lowed by a corps of hussars. The Count tells of the dangers threatening the Empire, and summons every man and patriot to the field of battle. The old gypsy woman, yielding to a sudden impulse, now reveals to the Count that Saffi is not her daughter, and gives him a document which proves her identity, and shows her to be the daughter of the last Parha in Hungary. Barinkay, who has been inspired by the hussar music, suddenly finds that he does not deserve Saffi, and also becomes a recruit. The third act is devoted to the pig- dealer's experience in the war, told in one of Strauss' merriest marches, and the return of the Austrian troops to the gay capital, commanded by Barinkay, who is accepted as the husband of Saffi, the Hungarian Princess. STORY OF SINBAD. Sinbad, an apprentice, loves Ninetta, the daughter of Nicola, who has borrowed large sums of money from Snarleyow, the smuggler. Nicola promises Snarleyow his daughter Ninetta's hand in return for another bag of gold, and spurns Sinbad on account of his poverty. Snarleyow steals Ninetta, takes her on board ship, and sails away; but Sinbad manages to join Snar- leyow's crew, and his and Ninetta's friends also manage to sail with them as stowaways. Nicola, fooled out of his gold, manages to secrete himself on board through the assistance of Fresco, the " bad boy," who wants to be a pirate. Fresco, who lives for wickedness only, conspires with Nicola to sink the ship with all on board. They succeed in doing so. but Cupid saves the principal characters of the play, and they all land on the canni- bal island, where they find Fresco, who has reached there before them and blossomed into a cannibal king. Snarleyow again tries to get Ninetta and put Sinbad out of the way, but Cupid again interferes and foils the villain. Sinbad secures the key of the Valley of Diamonds from the Old Man of the Sea, and escapes with Ninetta and his friends. The fourth act shows Sinbad's palace, and his wedding to Ninetta. Snarleyow and his followers, who managed to track the couple, interrupt the ceremony and steal the bride. Sinbad challenges Snarleyow to mortal combat. Fresco interferes, and 120 lights Snarleyow for Sinbad and makes him give up the girl. Cupid compels Nicola to consent to the match and bless the happy pair. Fresco, who has been " bad as they make 'em " to his heart's content, blows out the gas — and with it the plot; and Cupid shows the origin of the harp as a pleasant good-night picture. STORY OF MARITANA. In Madrid, with a band of gypsies, is Maritana, a young girl of extraordinary beauty. The gay King Charles is smitten with her charms. Don Jose, his minister, to carry out his own de- signs upon the Queen, resolves to aid in converting - the fair . young' gypsy to the purposes of the King. He praises her beauty. At this moment Don Caesar de Bazan comes reeling from a tavefn where he has lost his last maravadi in gambling, and meets Don Jose, his former friend. Lazarillo, a poor boy, who has just attempted to destroy himself, now attracts Don Caesar's atten- tion, and hearing the story of his wrongs, Don Caesar is drawn into the quarrel, which results in a duel, for which he is arrested and conveyed to prison, while Don Jose promises Maritana an introduction to Court on the morrow. The second act reveals Lazarillo watching Don Caesar asleep in the prison. Don Jose enters, and professing friendship for Don Caesar, makes a proposition whereby the latter may die a soldier's death instead of being ignominiously hung. This is that he shall marry, and Don Caesar consents, being willing to suffer matrimony for one hour and three-quarters. The soldiers are invited to banquet with him before his execution, and dur- ing the progress of this banquet Lazarillo adroitly extracts the bullets from the guns. The time comes for the execution, and Don Caesar is led forth to his doom, and a volley of musketry is heard. The scene then changes to the palace of the Marquis of Monte- fiori, where Don Jose introduces Maritana to the Marquis and his wife. Don Caesar again appears on the scene and claims his wife. Don Jose is confounded, but contrives to introduce the ugly old Marchioness to Don Caesar as his bride. Don Caesar repudiates her, but believes himself deceived, and hearing the voice of Maritana is confirmed in his belief. He demands his 121 true wife, and Don Jose orders the arrest of both Don Caesar and Maritana. The unhappy Maritana now pines in a villa belonging to the King, but she is pure and disregards the King's offers of wealth. During an interview between her and the King, Don Caesar again arrives in search of his wife, and encountering the King, whom he does not recognize, a most amusing scene follows. The King is called away in haste, and Maritana and Don Caesar meet. Their lore is mutual, and the plot of Don Jose is overthrown. His treason to the King and intended villainy to the Queen be- come apparent. Don Jose falls by Don Caesar's sword; Don Caesar secures his bride and an appointment as Governor of a distant island beyond the reach of his creditors. STOEY OP BILLEE TAYLOE. Billee Taylor, a gardener, proposes to lead to the altar pretty Phoebe Fairleigh, to whom he is betrothed. But Billee has a rival in the person of Christopher Crab, an ancient schoolmaster; and further to complicate affairs, Phcebe has a rival — Miss Ara- bella. Lane, the daughter of a local dignitary, Sir Mincing Lane. Arabella has tried to win Billee by surreptitiously supplying him with delicacies, but Billee informs her that he will wed none but Phcebe. The girls from the charity school near by wish Phcebe all sorts of good fortune, and present their little gifts. Phcebe in turn impresses upon them the necessity of fol- lowing the principles that have guided her. Captain the Hon. Felix Flapper, E. N., of H. M. S. " Thunder- bomb," appears, with Sir Mincing Lane, the patron of the charity school, and makes love to Phcebe. The captain, the schoolmaster, and Arabella are interested in the removal of Billee, and plot revenge. Ben Barnacle, the bo'sun of the " Thunderbomb," who has come on shore with his pressg-ang, is instructed to impress and carry off Billee, which he does as Phoebe and Billee, attired in their wedding garments, are about to proceed to church. He also takes the schoolmaster along. Two years are supposed to elapse before the action of the second act. Crab, who has become a tarry salt, deplores his fate in finding a chance to become a villain. Arabella, who has made 122 g'ood use of the opportunity offered by the absence of Phcebe, presses her claims on Billee's affections, who is disposed to yield and wed Arabella on condition that " her father comes down handsome." At this juncture Phcebe, who in search of her lover ran away to sea, followed by her companions, makes her appearance in the guise of a common sailor, and answering to the name of Eichard Carr. She fails to pay proper reverence to Billee, who teaches the proper respect due a lieutenant from a common sailor. Captain Flapper confesses to Susan, in the presence of Eichard Carr, the love with which Phcebe inspired him, and communicates the intelligence of Billee's approaching marriage with Arabella. Sir Mincing Lane has become a com- mander in the volunteers, and now appears at the head of his own company, and endeavors to persuade some of the sailors to join his command. Phoebe offers to join as a recruit, when she is claimed as a messmate by Barnacle, and a quarrel ensues. Christopher Crab incites Phcebe to revenge herself upon her faithless lover Billee. She fires at Billee, but the shot strikes Crab. Phoebe is seized, and is about to be executed, but is re- leased on declaring herself to be a woman. Billee is disrated and his rank bestowed upon his faithful Phoebe, who rewards the gallant captain by her hand in marriage. THE STOEY OF THE MIKADO. The action of the opera takes place in the town of Titipu, an uncertain place in Japan. Tvanki-Poo, the son of the Mikado, disguised as a minstrel, has fallen in love with Yum-Yum, the ward of a tailor, Ko-Ko, who has been raised by the Mikado to the rank of Lord High Executioner. Ko-Ko intends to marry his ward himself, and proceeds to make arrangements for his wedding, when an order from the Mikado demands a public execution within a month or the degradation of Ko-Ko will be the result. Xanki-Poo consents to be the victim if he is allowed to marry Yum-Yum. This is agreed upon, and the preparations for the wedding go on. A new law is discovered that when a married man is beheaded 128 his wife must be buried alive. This cools the love of Yum- Yum somewhat and complicates affairs generally. Finally it is agreed to swear to a false statement of an execu- tion of Nanki-Poo, which is done. The Mikado arrives and is given the statement, and discloses Nanki-Poo's identity, and also tells the punishment for causing the death of the heir-apparent. In order to mend matters and bring Nanki-Poo to life, Ko-Ko is obliged to marry Katisha and leave Yum-Yum to Nanki-Poo. STORY OP I PAGLIACCI. The scene of the story is laid in Calabria, at the time of the Feast of the Virgin di Mezzagosto. The first act commences with the arrival of a troupe of stroll- ing players. Canio, the clown, chief of the little troupe, invites the crowd to attend, and then goes off with Peppe, the harlequin, and several peasants to drink at the tavern. Meanwhile, Tonio, the hunchback, who is also a member of the troupe, takes advantage of the absence of Canio to declare his love to Nedda, Canio's wife, also an actress; but on his becoming too pressing she strikes him with a whip. Tonio, furious, goes off vowing to be revenged. He returns, however, a few minutes afterwards to the little theatre, and finds Nedda with her lover, Silvio, a rich farmer, who is trying to induce her to leave her husband and run away with him. Tonio, without being seen, goes off to find the husband, Canio, and bring him back to surprise the pair. Silvio, however, succeeds in scaling a wall and getting away without being recognized, but not before Canio has heard his wife's parting words as she tells Silvio to meet her at night. Canio, furious, orders her to tell him the name of her lover, but she refuses, and Peppe arrives just in time to seize the knife from the hands of Canio, who is about to attack her. He persuades her to go into the theatre to get ready for her part, and induces Canio to be calm and prepare for the performance. The first act closes with a cry of despair from Canio, who is obliged to act a comedy with death in his very soul. In the second act the peasants arrive to assist, in the per- 124 formance. They take up their places, and the curtain rises as the play begins. By a mere chance, this proves to be a burlesque of all that has taken place in the first act. Tonio, who plays the part of the idiot servant, makes a declaration of love to Columbine, Nedda, which she receives with scorn. Harlequin, in love with Columbine, then appears, but after a short interview is nearly surprised by Canio, the Pagliacci, who arrives just as Columbine is helping 1 Harlequin to run away, and hears her repeat to him the very words which she used to Silvio when she bade him meet her after the play that night. At this Canio loses his head, forgets his part, and furiously demands the name of her lover. Columbine laughs in order to put the public off the scent, and they, failing to grasp the truth, are much amused. Suddenly, however, Canio, beside himself with rage and jealousy, seizes the knife on the table and stabs Nedda to the heart. Whereupon, Silvio, who is among the audience, rushes forward with a dagger in his hand to her rescue, but is assailed and killed by Canio, who, turning to the crowd, announces " la commedia e finita " ("the play is finished "). STOEY OF CARMEN. Jose, a brigadier of dragoons at Seville, is awaiting the arrival of Michaela, a peasant girl, with a letter and purse from his mother. A band of girls arrive at the cigar factory opposite, and Carmen, the prettiest and most coquettish, throws him her bouquet. Jose falls distractedly in love. A quarrel ensues among the g-irls in the factory. Carmen, declared the assailant, is ordered to prison. She fascinates the luckless brigadier till he connives at her escape, and is himself placed under arrest for it. Carmen returns to her wandering gypsy life, and tempts Jose, who meets her outside the walls, to desert. He refuses; but quarrelling with his superior officer about Carmen, is forced to join the smugglers. Carmen's love grows cold. Escamillo, the popular toreador, woos her while the jealous Jose departs to visit his dying mother. Carmen is faithless. She goes with Escamillo to the bull fight at Seville. Jose pursues her, and, frantic at her desertion and avowed affection for Escamillo, stabs her to the heart. 125 STORY OF FAUST. In the first act, Faust, after a life spent in acquiring the subtle but fruitless learning of his age, invokes the aid of Satan. Mephistopheles appears, and offers him riches, glory, power; but Faust prefers the gift of renewed youth. Mephistopheles agrees, but exacts a condition that Faust shall serve him after his earthly career has been finished. Faust hesitating, the de- moniac power of Mephistopheles causes a vision to form of Marguerite. Faust, enraptured, quickly signs the compact, drinks the life-giving elixir, and is transformed into a youthful and ardent lover. The other acts carry along the love affairs of Faust, guided by the demoniacal powers of Mephistopheles, whose evil influence is irresistibly felt by all coming in contact with him. In the last act, Marguerite, driven to frenzy by the excess of her suffering, culminating in the murder of her brother by the man to whom she has sacrificed all, and by whom she has been to all appearances basely deserted, having destroyed her off- spring, awaits in a dungeon the doom of human justice. Faust presses her to escape; but a dream of memory flashes upon her as she gazes in his face and recognizes the murderer of her brother. Shrinking wildly from his blood-stained touch, she sinks upon the ground, and yields her spirit — not to the infernal powers, as Mephistopheles implies by his exclamation, " Ac- cursed! " but to the heavenly protection which even in her mad- ness she has implored, as is announced by the celestial voices which proclaim her " Saved! " THE STORY OF THE BEGGAR STUDENT. General Ollendorf, Military Governor of Krakow, is in a terrible rage at his failure to make an impression upon the heart of the fair Laura, daughter of the haughty Countess Palmetica. He had so far forgotten himself as to kiss the lady upon the shoul- der while escorting her to supper, and the insult of a blow upon the cheek from the proud Laura's fan had but added to his chagrin. At his wit's end to avenge himself, the idea strikes 126 him to dress a poor, low-born young man in the finery of a prince, trusting' to the poverty of Palmetiea and her daughters to jump at the bait and accept the impostor as a husband for Laura. After she was duly married she would discover the im- posture, and Ollendorff revenge would be complete. The General finds in the military prison the desired person, one Symon Sj-monovitz, a poor student, who has been imprisoned for debt. The plan is carried out. The wedding is over. The bride deeply mortified before the assembled nobility of Krakow, and the bridegroom thrust with his princely trappings into the street, amid the jeers of his drunken prison companions, whom the General has brought to the wedding to make merry at the confusion of the poor student. The General's delight knows no bounds; but he has not reckoned upon the activity of Janitskv', a Polish officer, who was permitted to accompany Symon in his short freedom, as his secretary. Janitsky falls in love with Laura's sister, Bronislava, and with Symon contrives to obtain valuable information and money enough to permit the Grand Duke Stanislaus of Poland to capture the citadel and bring Krakow again under Polish rule, for which Symon is presented with the title of Count, not, however, until Laura has declared her true love for him as a student, and signified her desire to share his fortunes, be his rank what it may. THE STORY OP PEA DIAVOLO. A notorious bandit and robber, Pra Diavolo, is the hero. In an excursion among the mountains, he falls in with an Eng- lish nobleman and his fashionable wife, Lord and Lady All- cash, who are making the grand tour. He encounters them at the inn kept by one Matteo, whose daughter Zerlina loves and is beloved by Lorenzo, a young soldier, who is about to start with his comrades in search of Fra Diavolo. The lady and her lord enter in great trepidation, having narrowly escaped robbery by the band of which Fra Diavolo is the chief. They innocentlv' explain to him (mistaking him, in his disguise, for the Marquis San Carlo) the trick by which they saved their most valuable property from the brigands. Fra Diavolo is enraged, and lays 127 his plan to relieve the rich travellers of all further care of their valuables. The second act introduces us to the bedchamber of Zerlina, who retires to rest to dream of her wedding to Lorenzo. Fra Diavolo and two of his gang- gain access to this room, which adjoins that of Lord and Lady Allcash, and prepare to seize their destined plunder. Zerlina moves in her sleep, and one of the brigands raises his knife to stab her. At this moment in her dream she murmurs gently a hymn to the Virgin. The ruffian is awe-stricken, and leaves her to sleep in peace. Fra Diavolo enters the chamber of milord and lady, and is sure of success, when everyone in the house is awakened by the shout- ing and noise made by the troopers. Zerlina awakes and dresses herself. Lord and Lady Allcash come from their chamber and demand an explanation of this uproar. Lorenzo explains, when a noise is heard in the closet where the robbers are concealed. Lorenzo approaches to ascertain the cause, when Fra Diavolo, finding himself at the point of detection, steps forth, and asserts that he had an appointment with Zerlina. This announcement, false as it is, falls like a thunderbolt on all. In the third act Fra Diavolo is again amongst the hills, a brigand chief undisguised. In the midst of his happiness he finds himself betrayed, ensnared, and in the hands of his enemies. STORY OF THE BLACK HUSSAR. The action takes place during the years 1812-13, and is devel- oped through the efforts of Von Helbert, a young German patriot and Colonel in the Black Hussars, to incite an insurrection in the German town of Trautenfeld, having disguised himself as an army chaplain for the purpose of furthering his designs. Hackenback, the town magistrate, has had such an influence by his politic avoidance of any rupture with the Russian and French, who alternately overrun the town, that the inhabitants are not easily aroused to the necessity of asserting their freedom from. Napoleon's control. So Von Herbert's mission is not an easy one. The French forces are hunting Helbert, and he succeeds in having a description of the magistrate inserted for that of him- 128 self in the police notice. To be ready for all political emergen- cies, Hackenback has caused a reversible panel to be placed upon his house, one side of which bears the portrait of the Czar, and the other that of Napoleon. Unfortunately, he has the Czar's portrait exposed at the time he calls the attention of the French forces as an evidence of loyalty to their cause, and this attracts attention to his identity and brings about his arrest. The climax is brought about by the throwing off all disguises by Helbert and his fellow-conspirators as the Black Hussar regiment arrives in town and captures the French forces just as they have cap- tured the Russian forces, who had previously been in possession. The comedy element of the story results from the love-making between Minna and Rosetta, the magistrate's daughters, and Helbert and Waldermann. The magistrate, in seeking to protect his daughters from the soldiers, has clothed them as old hags, a disguise which the girls throw off in the evening while the magistrate and his housekeeper slumber, and their real char- acter is discovered by Helbert and Waldermann. STORY OF THE BOHEMIAN GIRL. The peasantry of Count Arnheim are making preparations for the chase, when Thaddeus, a Polish exile, arrives in search of concealment. He encounters gypsies headed by Devilshoof, who gives him a disguise and puts the pursuing troops off the track. Shouts of distress are heard, and Florestein appears, surrounded by huntsmen. The Count's child and her attendants have been attacked by an infuriated stag in the forest. Thaddeus seizes his rifle and kills the animal. The Count overwhelms Thaddeus with thanks. They seat themselves at table, and the Count proposes a toast, " Health and long life to the Emperor! " Thad- deus, to the surprise of all, dashes the wine to the earth. The assembled guests threaten his life. Devilshoof returns and at once takes sides with Thaddeus. The Count orders Devilshoof secured, but he escapes, taking with him the Count's infant daughter, Arline. Twelve years are supposed to elapse, until the second act in Fresburg, near which gypsies are encamped with the Queen, in whose tent dwells the Count's daughter, Arline, now a fine young 129 woman. Florestein, a foppish attache to the Count, is met by Devilshoof and his companions, who relieve him of his jewelry, ameng which is a medallion, which Devilshoof carries off. Thad- deus, who has joined the tribe, is enamored of Arline, and he tells her it was he who saved her life in infancy, but he still carefully conceals from her the secret of her birth. Arline con- fesses her love for Thaddeus, and they are betrothed. A grand fair is in progress in the plaza of the city. Florestein appears, and is fascinated by the beauty of Arline. He perceives the medallion and claims it, charging her with having stolen it. Arline is arrested. The supposed culprit is brought before Count Arnheim. Florestein presses the charge, but the Count perceives the mark inflicted by the deer on Arline's arm. She repeats Thaddeus' story. The Count recognizes his long-lost child. In the third act Arline is restored to her rank and home, but that does not change nor diminish her love for Thaddeus. The gypsy Queen plots to take Thaddeus from Arline. By her device the medallion was discovered in the possession of Arline. Thad- deus relates his history to the Count, who, in gratitude to the preserver of his child, bestows her upon him. The gypsy Queen induces one of her tribe to fire at Thaddeus as he is embracing Arline, but by a timely movement of Devilshoof, the bullet reaches her own heart. THE STORY OF MADELEINE is based on a legend concerning the house of De Grimm, which prophesies that any Baron of that line who remains a bachelor and reaches the age of one hundred years, may, on attaining his hundredth birthday, have twenty-five years taken off his age provided he is kissed before noon of that day by a maiden who has attained her majority without ever having been kissed by man or boy. The legend also promises that should such a maiden be found, and would she also consent to marry him, on giving him the bridal kiss at the altar another twenty-five years shall be taken off his life, bringing him back to fifty years; and fur- ther provides that if she will afterwards and of her own free will, without solicitation, give him a third kiss, still another twenty-five years shall be removed, bringing him back to twenty- five. 130 The Baron de Grimm, having an earnest belief in the truth of the legend, and also having remained a bachelor, has had his ward Madeleine carefully brought up under a sacred promise that she shall give him her maiden kiss on his hundredth birth- day, should he live. The legend further states that should he fail to receive such a kiss he shall die on the stroke of noon. Madeleine arrives at the chateau on the eventful day, where she is followed by an adventurer, Auguste Deutch, otherwise Frederic Ribeau, an Alsatian artist, who has gained her youthful affec- tions, but to whom she refuses a kiss until she has fulfilled her promise to the Baron. The Baron implores her consent to a marriage, which she indignantly refuses, and declares her love for the artist, refusing at the same time the promised kiss, at which the Baron, enraged, threatens to disinherit her. This does not meet the views of the mercenary Frederic, who advises her to marry the Baron, and as he is very old, to wait for his death and then marry him, Frederic. Madeleine, astounded at his treachery, indignantly renounces him, and gives the Baron the first kiss just on the stroke of the eventful hour, proving the truth of the legend, as the Baron immediately becomes seventy-five. In the second act occurs the marriage of Madeleine and the Baron, and his return to fifty years of age at the conclusion of the ceremon3'. Here an unfortunate complication arises, as the Baron at that age was a confirmed toper and woman-hater, and Madeleine flees from him in terror. Frederic again appears, and implores her to fly with him, but she refuses, and learning that he is married already to " Matrimonial Mary," whom he has deserted, she brings about a meeting between them and resolves to give her husband the third kiss, -which entirely rejuvenates him, thus transforming him in one day from a decrepit cen- tenarian to a handsome young man of twenty-five. Here an- other complication arises, for Frederic out of revenge plays upon the superstitious belief of the Baron by declaring that he must not kiss his wife a fourth time, as that would take him back another twenty-five years, or, in short, to a period before his birth; and at the end of the second act we find Madeleine in perplexity, the Baron in despair, and Frederic in triumph. In the third act Madeleine and the Baron are somewhat at cross purposes — Madeleine doubting his love, and he trying to conceal for fear he may be tempted to give the proof of his 131 love she has asked for and thus put an end to his life. In despair at last he is about to kiss her, when Frederic appears and de- clares the legend to Madeleine; but " Matrimonial Mary " puts a new interpretation on it by declaring that the legend says nothing about the number of kisses the Baron may give his wife. He kisses her, finds he still lives, and all ends happily. Interwoven with the above pretty story are some very funny complications, furnished by the efforts of " Matrimonial Mary " to provide herself with a husband. She has already married six times, and believing she is a widow, not knowing that Frederic or Auguste Deutch is still alive, she is pursuing Dr. Gourmet, the Baron's physician, a widower and confirmed dyspeptic, in the hope of making him her seventh victim. Another portion of the legend confers on the Baron the power of giving - away any one of his physical attributes on regaining his twenty-fifth birthday, and he bestows on the doctor his appetite, as it is an abnormal one, both for eating and drinking; this furnishes another element for fun, for the doctor immedi- ately starts to make up for lost time. THE STORY OF THE GONDOLIERS. In Venice there are two gondoliers, the brothers Marco and Giuseppe Palmeri, with whom every maiden is in love. To pre- vent any ill-feeling, both agree to be blindfolded and choose their brides from among the crowd assembled in the plazetta. Fortunately, they find the very ones they wish, Gianetta and Tessa. To these they are married. Immediately after the cere- mony there arrive from Spain the Duke and Duchess of Plaza Toro, their daughter Casilda, and the Duke's attendant Luiz. They have come in search of the son of the lately deceased King of Bartaria, stolen in infancy from his foster-mother by the Grand Inquisitor, who did not wish the Prince to be influ- enced by the example of a father who had joined the Salvation Army. Don Alhambra (the Grand Inquisitor) states that the lost Prince is either Marco or Giuseppe Palmeri. The elder Palmeri was given the child to rear, but being a heavy drinker, he was unable after their coming to manhood to distinguish one from the other, and died without informing Don Alhambra 132 which was the Prince and which was the gondolier. As both are now married, and as the real Prince was married in infancy to Casilda, daughter of the Duke, the situation is embarrassing. Which is Casilda's husband cannot be decided, nor is she anxious to know, since she secretly loves and is beloved by Luiz. The kingship, however, is settled by both Marco and Giuseppe being taken to Bartaria to occupy the throne equally, their wives being left behind and their marriage being unmentioned to the Spaniards. Arriving in Bartaria, the foster-mother, now mar- ried to a respectable brigand, is discovered, and with threats asked to tell which of the two is the Prince. She declares that the title belongs to neither, and reveals the fact that when traitors came to steal the royal child she substituted her own and allow-ed it to be carried off to Italy. The real Prince grew up as Luiz, and became the Duke's attendant. Thus the crowns of Marco and Giuseppe are taken from them, but they are com- pensated by being reunited to their Venetian wives, who have come in search of them. Luiz ascends the throne with Casilda, to whom, unknown to either, he has been married all this time. STOEY OF BOCCACCIO. Pietro, the Prince of Palermo, goes to Florence, in accordance with the w-ishes of his father, to marry Fiametta, the daughter of the Duke of Tuscany. Fiametta when a child had been adopted by Lambertrucci, a grocer, who was not aware of her noble birth. The Duke has caused her to be reared in this hum- ble manner for reasons of his own, intending her to wed Pietro, to whom she has been in infancy betrothed. Upon Pietro's arrival in Florence, before presenting himself to the Duke and Fiametta, he joins in several adventures with the students. Boccaccio, the novelist and poet, who is hated by the men of Florence for having ridiculed them in his novels, is deeply in love with Fiametta. Pietro is mistaken for Boccaccio, and is severely beaten by the Florentines. As Pietro is about to be solemnly betrothed to Fiametta, for considerations of State (al- though he does not love her, and she dislikes him), Boccaccio, knowing that his affection for her is reciprocated, arranges a play which illustrates the follies of Pietro so strongly that the latter surrenders the hand of Fiametta to Boccaccio. 133 STORY OF IOLANTHE. Iolanthe, a beautiful fairy, having offended her Queen by mar- rying a mortal, was sentenced to penal servitude for life. The Queen, from her love for Iolanthe, pardons her after twenty-five years of exile. The Arcadian shepherd Strephon, Iolanthe's son, loves Phyllis, a ward in chancery, much to the discomfort of the Lord Chan- cellor, who intends her for himself. A majority of the House of Lords have fallen in love with Phyllis, and meet to decide which shall be selected for her husband. Strephon enters and claims his bride, but the Lord Chancellor refuses his suit, and Strephon invokes the aid of his fairy mother. Phyllis, knowing nothing of his birth, surprises him in the interview, and discards him as faithless. Not being able to convince the hearers that the fairy is his mother, he asks help from the Queen, who makes him a member of Parliament, with supreme authority. The Lords of Parliament are completely upset by the great success of Stre- phon. Phyllis is engaged to two noble Lords, and cannot decide between them, neither can they settle the matter satisfactorily themselves. The Lord Chancellor decides to press his own suit for her hand. Strephon proves his birth to Phyllis and explains away her fears. Iolanthe confesses to Strephon and Phyllis that the Lord Chancellor is her husband, and pleads with the Chan- cellor on her son's behalf. She finally breaks her fairy vow and acknowledges herself to be his wife, and is condemned to death, when all the fairies confess to being married to the Lords, and finding it impossible to kill them all, the Queen bows to the condition of affairs, accepts Private Willis, and all join the ranks of the fairies. STORY OF DOROTHY. Dorothy, the daughter of a wealthy fox-hunting squire, dons peasant dress,- and at the village inn serves the landlord's cus- tomers, and falls in love with a gentleman whose horse has lost a shoe. Dorothy is accompanied by a friend, who masquerades with her, and who also falls in love with a customer. The two girls give their lovers two rings, which the lovers swear never 134 to part with, and the same evening present them to two grand ladies at a ball, who are no other than their sweethearts of the morning, now clad in their legitimate raiment. The two gentle- men, in the middle of the night, play at burglars, and bind the squire in his chair and rob him. Dorothy, disguised in male attire, challenges her lover to fight a duel, and the challenge being accepted, displays arrant cowardice, thus making the de- nouement and inevitable explanation easy and natural. More fun is afforded by the antics of Lurcher, the sheriff's officer, who has followed the town gallants, Geoffrey Wilder and Harry Sherwood, down from London in the hope of collecting a bill against, the former, who, as the nephew of Squire Bantam, is expected to marry the Squire's daughter Dorothy. STOEY OP A TRIP TO AFRICA. Miradello, an impecunious explorer, who is loved by a French milliner, Tessa, leaves Palermo to penetrate into the recesses of Darkest Africa. Arrived at the first station on his journej r , his courage fails him, and he lingers there. His funds become ex- hausted, and he is about to be ejected from the hotel, when Titania appears on the scene. She also is in a quandary. Her fortune of $2,000,000, which is in the keeping of her uncle Fan- fani Pasha, will be forfeited if she is not possessed of a husband before a certain hour. They resolve to aid each other. Titania pays the hotel bills, Miradello poses as her husband. Fanfani has squandered the money intrusted to his safe-keeping, and although he does not place credence in the story of Titania's marriage, realizes his own danger and decides to abduct his ward, that she may be free ties of a matrimonial nature. Mean- while Tessa and her mother, Buccametta, follow Miradello to Cairo, where they hear of his marriage. In despair they enter the Pasha's harem as wives Nos. 41 and 42. Next appears Prince Antarsid, a Bedouin chief, who comes to the city to purchase slaves. He meets Titania, and they fall in love with each other. In pursuance of his design to free Titania from Miradello, and unaware of her attachment to Antarsid, Fanfani Pasha invites them to accompany him to his villa, where he can secure fine advantages for the furtherance of his plots. The act closes with their departure. 135 In the second act Titania, to avoid the enforced advances of Miradello, implores Antarsid to abduct her. Tessa discloses her identity to Miradello. The Pasha falls desperately in love with Tessa, but learns that she prefers Miradello, and becoming con- vinced that that individual is the cause of his many troubles, persuades Antarsid to abduct him. The act closes with the ris- ing of the Nile, and in the attendant confusion Titania departs with Antarsid, who has fulfilled his promise to the Pasha and has taken Miradello prisoner. Tessa and Buccametta again fol- low the unfortunate explorer. In the third act, which pictures a Bedouin camp, the compli- cations are straightened out. Titania marries Antarsid, Mira- dello weds Tessa, and Fanfani Pasha, in order to save his life, becomes the husband of Buccametta. STOEY OF PATIENCE. " Patience; or, Bunthorne's Bride," a forceful and humorous satire on the fad of aestheticism, relates the struggle for su- premacy over the feminine heart waged by two poets of con- trasting schools, the fleshly and the idyllic. The rise of the curtain discloses the exterior of Bunthorne Castle. A chorus of love-sick maidens, twanging lutes and man- dolins, sing despairingly of their love for Bunthorne, the fleshly poet. Patience, a milkmaid, appears on the scene, and twits them about their unhappy love. The maidens depart to sing their morning carol before the window of their adored one. A company of Dragoon Guards enters, and is soon followed by Bunthorne and the maidens, who scorn the advances of their military admirers. Bunthorne falls in love with Patience, who in turn is enamored of Grosvenor, the idyllic poet. But this pair of lovers, convinced that their affection is inspired by self- ishness, resolve to immolate themselves upon the altar of duty. The milkmaid pledges her vows to Bunthorne, while Grosvenor consoles himself with the admiration of Bunthorne's twenty apostles. At the commencement of the second act, Lady Jane, an antique female, who alone is faithful to Bunthorne, is discovered, seated upon a rock bemoaning the fickleness of her former companions. 136 They, much to the disgust of the fleshly poet Bunthorne, are now following in the train of the ictyllic Grosvenor. The re- maining episodes relate the continued attachment of Grosvenor and Patience, the transformation of the dragoons into a group of aesthetes, and the radical change effected in the ideas and dress of Grosvenor. The final curtain falls upon a scene of marital happiness, Bunthorne alone bereft of a bride, and sadly returning to his vegetable love. STOBY OF ROMEO AND JULIET. Shakespeare's drama is very closely followed, both in structure and dialogue, in the present lyric version of " Borneo and Juliet." The book is laid out in five acts. In the first, the house of Capulet is discovered en fete. Amongst the crowd of maskers come Borneo, Mercutio, Benvolio, and their friends, on a youth- ful frolic. Juliet and Borneo meet, and mutually love at first sight, maugre the fair Capulet's betrothal to Paris. Tybalt, a hot-blooded kinsman, pierces through Borneo's disguise, and wishes to bring him to task then and there, but Capulet him- self, in the true spirit of hospitality, restrains him, and the act terminates as it begins, with dance and song. Act second is devoted to the balcony scene, almost literally transcribed from Shakespeare, with an episodical interruption by some retainers of the house, who fancy that something is amiss, but fail to discover what. Act third is divided into two scenes — the first is the Friar's cell, and the business of this division of the act is the clandestine marriage of the two lovers. In the second scene, Borneo's page, Stephano (an invention of the librettist's), is discovered searching by Capulet's door in Verona for his miss- ing master. A boyish bit of arrogance on his part provokes the servants of the house into drawing on him, and speedily the combat becomes general through the entrance of Mercutio, Paris, Benvolio, Tybalt, Borneo, and their several adherents. One grievance leads quickly to another, and Mercutio is slain by- Tybalt, who in his turn is killed by Borneo. Then Capulet arrives on the scene, closely followed by the Duke and his suite. After a short investigation, the latter adjudg'es banishment to Borneo, who vows he will see Juliet once more at all hazard; and so the 137 act closes. In act fourth there are also two scenes — the first in Juliet's room at night, when occurs the grand duet for the lovers, also faithfully taken from Shakespeare. After Romeo departs at dawn, Capulet comes with Friar Lawrence to tell his daugh- ter of her intended marriage with Paris, and that the cerehiony will straig-htway be performed. He then retires to receive his guests, and in her despair Juliet asks the Friar's help. This he gives her in the shape of a potion, describing its effects. The next scene is the wedding party in Capulet's great hall. The epithalamium is interrupted by the illness of Juliet, who finally falls insensible. " She is dead! " all cry, as the act-drop de- scends. Act fifth takes place in the tomb of the Capulets. Here, as in Shakespeare's version, Eomeo arrives, believes his mistress dead, and takes poison. Juliet revives to find her lover beyond mortal aid, and, stabbing herself with a dagger, she dies in his arms. STORY OF AIDA. The action of the opera passes in Memphis and Thebes. Aida, the heroine, is a. slave, daughter of Amonasro, King of Ethiopia, and at the opening of the opera is in captivity among the Egyp- tians. A secret attachment exists between herself and Rhadames, a young Egyptian warrior, who is also loved by Amneris, daugh- ter of the sovereign of Egypt. The latter suspects she has a rival, but does not discover who it is until Rhadames returns victorious from an expedition against the rebellious Amonasro, who is brought back a prisoner. The second act opens with a scene between Amneris and Aida, in which the Princess wrests the secret from the slave by pre- tending that Rhadames has been killed, and the truth is still further revealed when Rhadames pleads with the King for the lives of the captives. The King agrees to release all but Aida and Amonasro, and bestows the hand of Amneris upon the un- willing' conqueror. Prompted by Amonasro's teachings, Aida influences Rhadames to fly from Egypt and espouse the cause of her father. The lovers are overheard by Amneris and Ramfis, the high priest. The Princess, with all the fury of a woman scorned, denounces Rhadames as a traitor. He is tried for trea- son and condemned to be buried alive in the vaults under the 138 temple of the god Phrah. Pardon is offered him if lie will accept the hand of Amneris, but he refuses and descends to the tomb, where he finds Aida awaiting- him. The stones are sealed above them, and the lovers are united in death, while Amneris, heart- broken over the tragedy her jealousy has caused, kneels in prayer before the sepulchre. STOEY OF THE PIRATES OF PENZANCE. Frederic, when a boy, was ordered by his father to be " bound out " to a pilot until his twenty-first birthday. By the mistake of his blundering nurse-maid Ruth, he was bound instead to a pirate, one of the celebrated Pirates of Penzance — celebrated because of their great gentleness, as they had a rule never to molest an orphan, being orphans themselves. The opera opens with the chorus of pirates, who are drinking and making merry in honor of Frederic, who has to-day attained his majority, and is going to leave them for a more congenial occupation. Euth desires Frederic to marry her and take her with him, and he promises to do so, never having seen any other woman. At that instant he hears girls' voices in the distance, and their fresh young beauty compared with his middle-aged nurse-maid, he denounces her as a " gay deceiver." The girls are daughters of Major-General Stanley, of the British army, and have just landed from a British war-ship for a few hours' walk on land with their father. Frederic immediately falls in love with the youngest daughter, Mabel. The pirates return and discover the girls, and think here is their opportunity to all get married with impunity. But the arrival of the Major-General on the scene, and his an- nouncement of his being an orphan, melts the hearts, of the pirates, and they allow the girls to go. Act second takes place in the Major-General's anqient baronial hall, which he has recently purchased. He is discovered, sur- rounded by his daughters, drowned in remorse for having told the " terrible story " to the pirates of his being an orphan. Frederic and Mabel try to comfort him, after which they bid each other farewell, as Frederic is to lead the police in an ex- pedition to exterminate the pirates. While Frederic is left alone a few minutes, the Pirate King and Euth come to him and show him the document by which he was bound out to them. It 139 clearly states " until his twenty-first birthday," and as his birth- day is on the 29th of February, he has seen only five birthdays. His " sense of duty " compels him to remain with them once more. He is in duty bound to tell them of the Major-General's story of his being an orphan. Thereupon they swear vengeance on the Major-General, and come by night to take him prisoner, but are overpowered by the police, who are on guard. The Major-General orders the pirates to prison, whereupon they con- fess they are English noblemen, " who still love their Queen." Upon promise of giving up their piratical career they are al- lowed to go. That releases Frederic, and makes all happy. STORY OF THE CHIMES OF NORMANDY. Henri, Marquis of Corneville, who has been an exile since childhood, owing to the civil war, returns to his ancestral home for the great annual fair, which is being celebrated in the vil- lage that receives its name from his chateau. It is one of the old-fashioned villages of the seventeenth century. The curtain rises on an assemblage of village gossips discussing scandal and small talk. Serpolette, a cross between Fanchon and Boulotte, is the topic of conversation among the belles of Corneville. She comes in just in time to turn the tables on the others and change their taunts into expressions of rage. Gas- pard, the old miser, wishes to marry his niece Germaine to the principal magistrate of the district, the Bailli. The arrangement does not suit Germaine, nor a young fisherman named Jean Grenicheux, who pretends that he has saved her life from drown- ing on a certain occasion. To escape the power of old Gaspard, Germaine takes advantage of the privileges of the fair (a similar scene to that in the first act of " Martha ") and becomes the servant of the Marquis. Her example is followed by Grenicheux and Serpolette. The second act is taken up with the supernatural visitors who have made the Castle of Corneville so long an object of dread. Henri determines to find out the real character of these ghostly appearances, and discovers that it is all the work of the old miser, who has concealed his treasures in the chateau. The discovery drives Gaspard crazy, especially when he hears the 140 bells of the chateau ringing for the first time since the flight of the old Marquis. The third act represents the grand fete given in honor of th& return of Henri to his ancestral home. Serpolette arrives as a Marchioness, as some papers found in the chateau indicate that she is the lost heiress. The miser, however, recovers his reason, and shows that Germaine is the true Marchioness. A love duet between Germaine and Henri, and the reconciliation of all the parties, brings the romantic story to a close. HENRY MUBGEB'S PEN PICTUEES OF QUAETIEE LATIN CHAEACTEES. Gustave Colline, the great philosopher; Marcel, the great painter; Eudolph, the great poet; and Schaunard, the great musi- sician — as they were wont to style themselves — regularly fre- quented the Cafe Momus, where, being inseparable, they were nicknamed the four musketeers. Indeed, they always went about together, played together, dined together — often without paying the bill; yet always with a beautiful harmony worthy of the Conservatoire Orchestra. Mimi was a charming girl, especially apt to appeal to Rudolph, the poet and dreamer. Ag'ed twenty-two, she was slight and graceful. Her face reminded one of some sketch of a high-born beaut3 r . Its features had marvellous refinement. This frail beautj' allured Eudolph. But what wholly served to enchant him were Mimi"s tiny hands, that, despite her household duties, she contrived to keep whiter even than those of the Goddess of Ease. Mademoiselle Musetta was a prett3' girl, very coquettish, rather ambitious, but without any pretensions of spelling. Their existence of every day is a work of genius, a daily prob- lem which they always contrive to solve with the aid of bold mathematics. When want presses them, abstemious as anchorites; but if a little fortune falls into their hands, see them ride forth on the most ruinous fancies, loving the fairest and youngest, drinking the oldest and best wines, and not finding enough windows whence to throw their money; then, the last crown dead and 141 buried, they begin again to dine at the table d'hote of chance where their cover is always laid; contrabandists of all the indus- tries which spring from art, in the chase from morning till night of that wild animal which is called the crown. A gay life, yet a terrible one! THE STOBY OF LUELINE. Act I. — Count Eudolph, an extravagant young German, re- siding in an antique castle on the banks of the Ehine, having dissipated his patrimony among his graceless followers, pro- poses marriage with Ghiva, the daughter of a neighboring Baron, thinking thereby to replenish his coffers. The young lady's father, however, is nearly as poor as the Count, and hopes that the union between Ghiva and this young nobleman will better enable him to support his own estate. An explanation soon puts an end to the treaty, and the hand of the suitor is rejected. Previous to this rupture, Lurline, the Nymph of the Ehine, who by her enchanted harp and song lures vessels to destruc- tion in the whirlpool of the river, has seen Count Eudolph in his bark, and fallen desperately in love with him. Accordingly, she presents herself to the Count at a wild banquet (the last that he and his companions have determined to hold at the old cas- tle), and encompasses him with spells, places a magic ring on his finger, and disappears. On recovering his reason, the Count has become enamored of the beautiful water queen. The notes of her bewildering voice and harp attract him to the Ehine. He embarks, despite all interference, is engulfed and supposed to have perished. Act II. opens in the coral caves, under the waters, inhabited by Lurline and her nymphs, in which, by virtue of the talis- manic ring, Eudolph is enabled to exist. His followers are seen in a boat, singing a requiem for the loss of their chief, by which he is so affected that he urgently desires to return to them for a short time. Lurline consents to his departure for three days, and agrees to await his return on the summit of Lurlei-Berg, at the rising of the moon on the third evening. To augment his happiness, she prevails on her father, the Ehine King, to grant him a cargo of wealth, with which he embarks in a fairy skiff, leaving Lurline in dread of the non-fulfilment of his promise. 142 Act III. — On returning to his companions, Rudolph discloses to them, and to the Baron and his daughter, the secret of his almost inexhaustible wealth. This produces a great change in the disposition of the latter. The Baron once more courts the Count's alliance, while Ghiva, finding- his heart engaged to Lur- line, and fearing to lose her now wealthy former suitor, con- trives to steal Lurline's enchanted ring from his finger and cast it into the Rhine. In the meantime Lurline, inconsolable at the absence of the young Count, sits singing her lamentations to the chords of her harp nightly, on the edge of the Lurlei-Berg, where a gnome, in the service of the Rhine King, brings her the plighted ring in token of her lover's infidelity. Distracted with grief, Lurline resolves to upbraid him for his pjerfidy and visit him with her vengeance. Act IV. — The old mansion on the Rhine is now the scene of great festivity, but in this gay and gorgeous revel the rich Count is the least happy of the numerous and joyous throng. His heart is away on the Lurlei-Berg, with his lovely and faithful Lurline, but he dares not present himself before her without his lost ring. Lurline appears to him when alone and demands the ring. A scene of reproach here takes place, ending by her de- nouncing the treachery of the companions in whom he most confides. They, growing envious of Rudolph's wealth, had plotted to destroy him and to plunder the castle. Their plan is overheard and hastily communicated to the Count by the ever-listening Ghiva and her father, who importune him to in- stant flight. The assassins are at hand. Rudolph prefers death at the feet of Lurline. The assassins approach; when, Lurline's affections returning in full force, she seizes her harp and dj- the spell of music causes their destruction and effects the preser- vation of her penitent lover. THE STORY OP LOHENGRIN. Act I. — Henry the Fowler, King of Germany, has come to Ant- werp to summon his forces against the Hungarians, who threaten • the frontier. He finds his army without a leader, Gottfried, the young son of the late Duke, having mysteriously disappeared, and Telramund claiming the sovereignty of Brabant. Telramund 143 openly accuses Elsa (Gottfried's sister) of having' murdered her brother to get the crown herself. Elsa is called before the King' to answer the charge. He decrees that her cause shall be sub- mitted to the ordeal of battle between Telramund and any cham- pion Elsa may choose to defend her. She describes a knight whom she has seen in a vision, and conjures him to fight for her. After repeated appeals, a skiff drawn by swan is seen. In it is Lohengrin, who accepts Telramund's challenge. Before they fight Elsa is betrothed to Lohengrin, and is made to promise not to ask him anything concerning his birth, name, or whence he came. Telramund is overcome and stripped of honors. Act II. — Telramund and Ortrud, his wife, are watching outside the palace, which resounds with revelry. They are determined to ruin Elsa and Lohengrin, and gain their former rank. Elsa appears, and Ortrud makes a touching appeal which greatly moves Elsa, who shelters Ortrud for the night, and obtains the reprieve of Telramund's sentence. Ortrud manages to insinuate in Elsa's mind the first germ of suspicion. The retainers as- semble to form the bridal procession. Ortrud appears as one of the bridal train. When at the steps her temper is aroused and she denies Elsa's right of precedence. Then the King and Lohengrin enter. Lohengrin reproves Elso for speaking to the evil-minded woman, when Telramund accuses Lohengrin of sor- cery, alleging his strange conduct and the mystery surrounding his name. But the King has faith, and the train finally enters the church. Elsa and Lohengrin are married. Act III. — Elsa and Lohengrin are conducted to the bridal chamber, and are alone. Doubts fill Elsa's mind, and she ques- tions her husband, unmindful of his warning that her doubts will end their happiness. In the midst of the altercation Telra- mund slips in, but is seen by Elsa, who quickly hands Lohengrin his sword, and Telramund is killed by a single blow. He then hands Elsa to the bridesmaids. When they both appear before the King, he announces himself to be the son of Percival, a Knight of the Holy Grail. Being known, he is bound to return its mysterious ownership. The swan appears, and the grief- stricken Elsa beholds Lohengrin sailing away while bidding her an eternal farewell. But before he enters the skiff he disen- chants the swan, who proves to be Gottfried transformed by Ortrud's sorcery, and who now takes rightful possession of his dukedom. 141 GRAIL SONG PROM LOHENGRIN". In distant land, by ways remote and hidden, There stands a Berg' that men call Monsalvat; It holds a shrine, to the profane forbidden, More precious there is naught on earth than that; And, throned in light, it holds a cup immortal, That whoso sees from earthly sin is cleansed. 'Twas borne by angels thro' the heavenly portal; Its coming hath a holy reign commenced. Once ev'ry year a dove from Heav'n descendeth To strengthen it anew for works of grace; 'Tis called the Grail, the pow'r of Heav'n attendeth The faithful knights who guard that sacred place. He whom the Grail to be its servant chooses, Is arm'd henceforth with high invincible might, All evil craft its pow'r before him loses, The spirits of darkness, where he dwells, take flight. Nor will he lose the awful charm it lendeth, Although he should be called to distant lands, When the high cause of virtue he defendeth, While he's unknown its spell he still commands; By perils dread the Holy Grail is girded, No eye rash or profane its light may see; Its champion knight from doubtings shall be warded; If known to man he must depart and flee. Now mark, craft or disguise my soul disdaineth, The Grail sent me to right yon lady's name. My father, Percival, gloriously reigneth, His knight am I, and Lohengrin my name. THE STORY OP LUCIA DI LAMMERMOOR. The opera is founded on Sir Walter Scott's novel, " The Bride of Lammermoor," and the scene is laid in Scotland during the seventeenth century. At the commencement, Norman, a re- tainer of Henry Ashton, suspecting that Lucy Ashton has a secret lover, directs his followers to ascertain who the stranger is that frecpients the grounds. Henry enters, and laments that 145 he is still menaced by his old enemy, Edgar of Eavenswood, and that his sister, who alone could save him by marrying Arthur, refuses to do so. Bide-the-Bent, her tutor, pleads for her, at- tributing her unwillingness to the marriage to grief for the recent loss of her mother; but Norman informs Henry that Lucy, having been rescued from the attack of an infuriated bull, has fallen in love with her protector, and he has reason to be- lieve that he is none other than Edgar. At this moment the retainers return and confirm his suspicions, and Henry is furious and vows vengeance on them both. The scene changes to a park, and Lucy, despite the warnings of her attendant Alice, meets Edgar and plights her faith to him. Edgar, being com- pelled to go to France, determines before leaving to seek Henry Ashton and beg for his sister's hand; but Lucy, fearful of the consequences, implores him to alter his resolution, and they part betrothed in secret. In the second act Norman tells Henry that he is in possession of letters between the lovers that have been intercepted, and gives him a forged one to make Lucy believe that Edgar is faithless to her. Henry shows his sister the forged letter, reproaches her with still loving one who is false, and entreats her to marry Arthur, urging as a reason that his influ- ence would be of the utmost service to him, he (Henry) being implicated in a conspiracy against the Government. Lucy, think- ing it her duty to save her brother, and not caring for life without Edgar's love, yields to his solicitation, and almost broken-hearted, sig'ns the marriage contract. Edgar at this mo- ment appears, and announces that Lucy is already affianced to him; but when shown her signature to the contract, and Lucy admitting to him that it is hers, he returns her the ring she gave him and angrily demands his, which she, almost uncon- sciously, draws off her finger. He snatches it from her, throws it on 1he ground and tramples on it, uttering curses on her and all her family. The third act opens in the hall of the old Castle of Eavenswood, where Edgar is seated at a table plunged in grief. Henry enters, and insultingly tells him that the marriage has taken place, and challenges him to meet him on the follow- ing morning', which Edgar haughtily consents to do. The scene then changes to a hall in Henry Ashton's castle, where the guests are celebrating the wedding. Bide-the-Bent comes in and tells them that Lucy has gone mad and murdered her hus- band, which is confirmed by the entrance of Lucy, who, uncon- 146 scious of all around her, thinks she is about to be united to her beloved Edgar; but the sig'ht of her brother agitates her, and she is led away fainting. Edgar, who is passing the night among the graves of his ancestors, is informed of what has happened, and is about to rush to Lucy, when Bide-the-Bent tells him that she is dead. In the agony of despair at the loss of her, Edgar stabs himself and dies. STORY OF THE GRAND DUCHESS. If the Grand Duchy of Gerolstein is not to be found in any existent maps or gazetteers, it is probable that it has been ab- sorbed in the great German Empire. In days preceding the foundation of that great political fact, a certain Grand Duchess came to power at a very early age, with no other guidance over her than that afforded by an aged Chamberlain, one Baron Puck, of a somewhat superannuated school of diplomacy, and General Bourn, equallj' antique in his military ideas. At the commence- ment of our operatic acquaintance with the youthful Grand Duchess, a grand review is about to be held of the Grand Ducal Army, a host priding itself of native valor rather than numerical strength — this measure having been devised by the astute Puck to divert his august charge from dangerous leanings of a ten- der kind naturally to be expected in a young lady just budding into womanhood. The Baron's sage* precaution is. however, des- tined to defeat. The army numbers in its ranks a recruit who, under the name of Fritz, has already contrived to awaken the jealousy of the General, his commander, by enlisting the affec- tions of a peasant girl, Wanda, on whom the latter had cast an eye of tender interest. Fritz makes a further step in the dis- favor of his commanding officer by attracting the attention of the Grand Duchess herself, who, to the disgust of the General, pleased with Fritz's figure, calls him out of the ranks and enters into conversation with him. Fritz, ere this colloquy is over, finds himself promoted to the post of corporal, and it transpiring that her protege has a sweetheart, the Grand Duchess finally raises him to the rank of lieutenant as a mark of her growing interest, and probably to place its object beyond the hopes of a peasant girl. The advisers of the youthful sovereign now en- 147 gage her attention with a plan of campaign to be followed in the contemplated hostilities with a neighboring state; and the Grand Duchess, having' first; won the enthusiastic favor of her troops by joining in the regimental song which she has been previously practicing' with Baron Puck, seats herself at a table and calls on the General to open a description of his plan of battle. Fritz, who in the meanwhile has been charged with guarding the person of his august mistress, hears the details of the General's intention with a disgust he is unable to control. He openly declares the proposed operations to be downright nonsense. The General, incensed, is venting his choler on the interruption, when the Grand Duchess interposes, and requests Fritz to state his views; and being told that he is neither a commanding officer nor a noble, and cannot be heard, she on the spot raises him to a general's rank and creates him a Baron. Fritz, thus qualified, takes his seat at the council table, and in- dicates a plan, the charming simplicity of which delights the Duchess, who, to the discomfort of Bourn and his confederate Puck, invests him with the command of the army, the badge of which is an immensely tall plume, and commits the conduct of the campaign to his skill and valor. We should have men- tioned that a certain Prince Paul, a feeble and neglected suitor of the Grand Duchess, had been present at this scene, and shared the disappointment and jealousy of the Grand Duchess's coun- sellors at the sudden elevation of the quondam private Fritz. In the interval between the first and second acts the Grand Duchess's favorite has conquered her enemies, and his tri- umphal return is now witnessed, accompanied by the welcome of his mistress, and his own recital of the victory which has crowned his generalship. A tete-a-tete follows the public re- ception, in which, under the guise of an intercession for a lady of her own court, the Grand Duchess makes an avowal of her passion for the victorious General. But Fritz is too stupid or too preoccupied with thoughts of his Wanda to accept the honor in its intended light. The Grand Duchess, mortified at this manifestation of bad taste and indifference to her charms, re- solves to avenge herself. Overhearing a conspiracy between Puck, Bourn, and Prince Paul against the life of the supposed favorite, she bursts upon the conspirators and offers to join in their design, a proposal joyfully accepted; and the act terminates with an eccentric dance, confirming the entente cordiale. In the 148 third act a new personage turns up, Baron Grog, emissary of Prince Paul's father, to urge on his marriage frith the Grand Duchess. He joins the conspiracy against Fritz, and has the good fortune to captivate the fancy of the Grand Duchess, who is so pleased with his agreeable qualities that she countermands the assassination of Fritz, who is allowed to marry Wanda, and the conspirators are permitted, in lieu of taking his life, to play a practical joke on his bridal night. He is consequently sum- moned away by a false message to the field of battle after hav- ing his conjugal felicity interrupted by a succession of serenades. The document which seals the eventful fate of all parties takes place at another review of troops. The Grand Duchess has at last accepted the hand of the long-expectant Prince Paul through the influence of Baron Grog, and the betrothal is being cele- brated, when Fritz bursts upon the scene in a dilapidated con- dition, the emblems of his authority, including the sabre belong- ing to the ancestors of the Grand Duchess, with which he had been solemnly invested, being in a most battered condition. Fritz has been waylaid by the contrivance of General Bourn and belabored by a jealous husband in mistake. The Grand Duchess, incensed at this degradation of her former favorite, deprives him of his command, and transfers it, with all the insignia, plume, sword, etc., to Grog. But learning, from an exclamation of that worthy diplomatist, that he had a wife and children, she is fain, in her dudgeon at this unexpected revelation, to rein- state poor General Bourn in his former rank. Freely then giving her hand to Prince Paul, she resigns her liberty, and once for all becomes a married, settled Grand Duchess. STORY OF EIGOLETTO. The scene of the opera is laid in Mantua. Rigoletto, the privi- leged buffoon of the Duke (who assists in all his licentious schemes and other misdeeds), has assisted his master in the seduction of the wife of Count Ceprano and the daughter of Count Monterone. The latter appears before the Duke and Eigo- letto and demands reparation for the dishonor put upon his house, only to be arrested by order of the Duke and tormented in the most insulting' manner by the buffoon, upon Whom he 149 invokes the vengeance of Heaven. Even the courtiers them- selves are enraged at Itigoletto's taunts, and determine to assist in Monterone's revenge by stealing Gilda, the jester's daughter, whom they believe to be his mistress. Closely as she has been concealed, she has not escaped the observation of the Duke, who. in the guise of a poor student, wins her affections and discovers her dwelling-place. Pretending that it is Count Ceprano's wife whom they are about to abduct, they make even Eigoletto assist in the plot and help convey his own daughter to the Duke's apartments. In his fury when he learns of the trick, Eigoletto^ hires Sparafucile to kill the Duke, and the bandit lures the Duke to his house, intending to carry out his agreement. His sister, Maddalena, is fascinated with the handsome stranger, and in- duces Sparafucile to promise that if anyone else comes to the house before the hour agreed upon for the murder he shall be the victim, and not the Duke. In the meantime Eigoletto dis- guises his daughter in male attire in order that she may escape to Verona; but before she sets out he takes her to the vicinity of Sparafucile's house that she may witness the perfidy of the Duke. She overhears the quarrel between Sparafucile and his sister, and their intentions to murder 1he Duke. With a woman's devotion, she decides to sacrifice her own life, and knocks at the door, demanding admittance. Sparafucile opens it, and as she enters stabs her. He then thrusts her body into a sack, and delivers it to her father as that of the man he agreed to slay. Eigoletto, g'loating over his revenge, is about to throw the sack into the river, when he suddenly hears the voice of the Duke. He tears open the sack to see whose body it contains, and by the glare of the lightning is horrified to see the face of his own daughter, who expires in his arms; and Eigoletto falls to the ground, realizing that the malediction of Monterone has been fulfilled. THE STOEY OF LA GIOCONDA. The place and time are Venice, in the seventeenth century. Act I. opens with a festal chorus of the people, monks, sailors, maskers, etc., gathered in the courtyard of the ducal palace. Barnaba, a spy of the Council of Ten, comments on their gayety, and begins his plans to capture the affections of Gioconda, a ballad singer, with whom he is deeply in love. Gioconda enters, 150 leading' and comforting her blind mother, Cieca. The former is in love with Enzo, a Genoese noble, originally the betrothed of Laura, who is now the wife of Alvise, chief of the Council of Ten. Gioconda repulses Barnaba's advances, and the latter de- termines to get the g'irl's mother in his power to further nis designs. When the people return from the regatta, Barnaba persuades the defeated boatman, Zuane, that Cieca has caused his disappointment by witchcraft, and the fate. of the old woman hangs in the balance, when Enzo enters and saves her life. Alvise and Laura appear upon the scene, and the latter secures the pardon of Cieca, who gives her deliverer a rosarjr. Laura and Enzo recognize each other, and when Barnaba, bent upon getting Enzo out of the way so that he may have Gioconda to himself, tells him that Laura will be on his ship at nightfall, the rapture of the lover is boundless. Barnaba's real designs are not suspected. He then warns Alvise that his wife is about to elope with Enzo, and Gioconda, learning this, laments the perfidy of Enzo, while the monks and the people are singing- the vesper hymn. Act II. takes place on board Enzo's vessel and on the bank of the Fusina Lagoon. The sailors are carousing. Barnaba arrives with Isepo, both disguised as fishermen, and the spy despatches Isepo to summon three war galleys. He then departs. Enzo comes on deck and sends the crew below, leaving him on deck waiting for Laura, who presently arrives. The reunited lovers determine to set sail during the night. Enzo goes below to complete his preparations, and Laura prays to the Virgin for aid. Gioconda rushes upon her, and is about to slay her, but on Laura lifting up the rosary, remembers it was the grateful gift of La Cieca, gives her own mask to Laura, calls up two boatmen, and sends Laura away in safety before the arrival of Alvise and Barnaba. The Venetian galleys bear down on the " Hecate," which is set on fire by Enzo as the curtain falls. Act III. opens on the following night in Alvise's residence. He has resolved to poison Laura, and when she comes, at his summons, he tells her that she must drink the phial of poison he places on the table before the last note shall be sung of a serenade which is being chanted by some passing gondoliers. He no sooner quits the room than Gioconda enters. She brings a flask containing a powerful narcotic, makes Laura drink it, pours into the empty flask the contents of the phial, and departs 151 "to mingle with the maskers. Alvise enters, finds the phial empty, and believes his revenge complete. Barnaba drags in La Cieca, whom he has found in one of the reserved apartments. She declares that she was " praying for her just dead," and the guests are dismayed. Alvise asks who has the right to be gloomy when Alvise Badoero is gay? Enzo, who has learned from Bar- naba that it is Laura who lies dead, rushes forward, throws off his mask, denounces Alvise, and is seized by the guards. Gio- conda promises Barnaba to become his wife if he will obtain Enzo's liberty, and he accepts this condition. The grand finale is brought to a close by Alvise opening the curtain of the funeral chamber and showing Laura extended on her bier. He proudly avows that he has taken her life to avenge his outraged honor, and the curtain falls on a scene of fearful interest. In Act IV. the sleeping Laura is brought to the dwelling of Gioconda, who meditates suicide, then is tempted to destroy her rival. While she is hesitating Enzo arrives, grateful to her for obtaining- his freedom, but resolved to end his life. Laura, wak- ing from her trance, calls out " Enzo! " and presently comes from behind the screen which had concealed her. The two lovers offer grateful thanks to their deliverer, and escape in a boat provided by her. Left alone, she remembers her compact with Barnaba, and resolves to fly. She prays to the Virgin for deliverance " from the foul demon," and her prayer is overheard through the half-open door by Barnaba, who confronts her as she is about to come forth. Summoning all her courage, she tells him gayly that she means to keep her word, but must put on her gayest ornaments to do him honor. While, to his de- light, adorning herself with trinkets, she contrives to seize a dagger, with which she stabs herself to the heart, saying, " I have sworn to be thine. Take me — I am thine! " STORY OF THE MERRY WIVES OF WINDSOR. The plot of Nicolai's opera follows closely that of Shakespeare's comedy, though the action is confined entirely to the adventures of Falstaff with the Merry Wives, with the love of Anne and Fenton as an incident. Falstaff has lost his roystering followers, Bardolph, Pistol, and Nym, and we are also deprived of the unctuous Welsh parson, Sir Hugh Evans, while in return the 152 milksop character of Slender has been happily accentuated in the music. The action begins with the receipt by Mrs. Ford and Mrs. Page of Sir John's love-letters, and proceeds there- after in close imitation of the original comedy, with the omission of the scenes that have no direct connection with the fat knight's aruatory adventures. Sir John is inveigled into two visits to the house of Mrs. Ford, with the familiar results. First, he is carried out in a basket, covered with foul linen, and " thrown into the Thames, and cooled, glowing hot, in that surge, like a horseshoe." The second time he encounters Ford's cudgel. A third meeting is then arranged for Windsor Park, where Sir John, after suffering much in his amiable dignity by reason of his absurd attitude (for which, to keep in countenance, he must needs find a parallel in classic mythology), is held up to ridicule after being tormented by the mock fairies, and then forgiven for the sake of the lesson learned by all and the severity of the punishment suffered at the hands of the keen, witty, and light- hearted women. STOEY OF OLIVETTE. In Act I. of " Olivette " the people of the village of Perpignan are excited over the approaching marriage of the Seneschal's only daughter, Olivette, with an old sea captain, De Merrimac. The young lady has just arrived from a convent, where she had fallen in love with a young officer, Valentine, a nephew of De Merrimac. The young Countess of Eousillon has, however, fallen in love herself with the young- soldier, and comes to Perpignan to see him. In the house of the Seneschal the Countess has her solitude invaded by Valentine, who believes he is climbing the balcony of Olivette. Meanwhile, the uncle, whose suit does not prosper with Olivette, writes the Countess a letter demanding the young lady's hand. Valentine contrives to pass himself off for the real De Merrimac, and accordingly writes Olivette, at the request of the Countess. Act II. opens with a ball given by the Countess in honor of the wedding, and Valentine finds that he is to personate not only his uncle but himself by constant change of dress. The real De Merrimac returns, and is greeted by everybody as the happy bridegroom. Finally his perplexity is relieved by the ap- 153 pearance of Valentine as the old man, and the result of the explanation is that De Merrimac resolves to take the bride that Valentine has married in his name. A conspiracy is formed, and Olivette gets rid for the moment of her elderly bridegroom. The love of the Countess for Valentine upsets the calculations of Olivette, for the sovereign lady of Rousillon announces her intention of marrying the loyal soldier who had quelled the conspiracy. As a last resource, Valentine, at the instigation of Olivette, joins the plot, and the Countess is ordered to be sent out of the kingdom. Act III., and last, describes the partial success of the plot and the imprisonment of the Countess on the " Cormorant," the ship commanded by De Merrimac. Olivette and her husband, disguised as sailors, seek a vessel to carry them away. Valen- tine is detected and seized. Olivette manages to set the Countess free, and assumes her dress, her own being taken by her maid Veloutine, whom the near-sighted Duke courts. De Merrimac returns, and is horrified to hear the Duke tell Valentine of his courtship of Olivette. Both nephew and uncle disown the bride until the return of the Countess and the unveiling of Olivette. Valentine is at last united to Olivette, the Countess accepts the Duke des Ifs, and De Merrimac is advised to follow 7 the example of the Doge of Venice and " marry the sea." STORY OP DAUGHTER OF THE REGIMENT. The scene of the opera is laid in the Tyrol during the occupa- tion of that country by the French. The heroine is Marie, a vivandiere or sutler, called the Daugh- ter of the Regiment, because she had been found in the field after a battle by Sulpice, a French sergeant, by him conveyed to the encampment of the Twentieth Regiment of the Grand Army of Napoleon, and by them adopted as their daughter. On the person of the infant, however, was affixed a letter, writ- ten by her father, a captain, and addressed to the Marchioness of Berkenfeld. This letter the good sergeant carefully preserved. At the opening of the opera the foundling has grown up to a sprightly young woman, full of spirit and enterprise, the delight of her parent, the regiment, and the especial admiration of 154 Tonio, a Tyrolese, only a year or two older than herself, who has saved her life when in danger of falling over a precipice. He asks her hand, and the regiment, in its paternal character, assembles, discusses the proposal, and comes to the conclusion to consent to the match, on the soldier-like condition that Tonio shall enlist into the regiment. To this Tonio readily consents, and all seems going- as the course of true love has been said never to do, when the Marchioness of Berkenfeld appears on the scene. Sulpice recollects the name, and considering himself in duty bound so to do, delivers to her the letter he had found on the person of the infant Marie. The Marchioness well knows the handwriting, declares Marie to be her niece, haughtily de- mands her of her more loving guardian the regiment, and dis- misses Tonio as wholly unfit to be connected with any of her high-born family. At this point the story of the first act closes. In the second act we find Marie transferred to the Castle of Berkenfeld, her vivandiere costume rejected for habiliments more suited to her changed condition, and masters about her to efface all traces of her military antecedents; but with a result not quite satisfactory to the Marchioness. Accomplished and lady- like in her bearing Marie undoubtedly becomes; but she sighs for her former freedom, and is frequently caught in the act of singing the joyous Rataplan and going through some of the evolutions of the regiment — her beloved parent. Still more deeply does she sigh over her separation from Tonio. While these regrets are prej'ing on her mind, the sound of approaching drums and fifes announces the advance of a military force. In a short time the castle is in the possession of the besiegers, who turn out to be the g'allant Twentieth, with Tonio at their head, who for his noble conduct during his career as a subaltern has been made a field officer. Mutual recognition of course secures the safety of the inmates of the castle, and Tonio renews his sup- plication for the hand of Marie. The Marchioness again rejects him, on the plea that she has promised her to the son of a neighboring Duchess. Tonio proposes to Marie that she elope with him, and she, indignant at her supposed aunt's cruelty, gives her consent. This coming to the knowledge of the Mar- chioness, in order to establish a new claim on the obedience of Marie, she reveals to her the fact that in early life she had con- tracted wedlock with an officer in rank so far below the aristo- cratic expectations of her family that she had found it neees- 155 sary to conceal the circumstance; that the officer who had fallen on the field, and placed the letter addressed to her on the neck of a child, was her husband; and that Marie was consequently her daughter, and not her niece. Marie, who had refused to obey the behests of her aunt, cannot set at defiance the wishes of her recently-discovered mother, and in an agony of grief she renounces Tonio. But her suffering and devotion have awakened the dormant maternal feelings of the Marchioness, who declar- ing the happiness of her daughter to be more dear to her than earthly grandeur, consents to the union of Tonio and Marie. STORY OF DIE MEISTERSINGER. Act I. — Nuremberg-, sixteenth century. Choral service in St. Katherine's Church, with orchestral interludes depicting the feeling of Walter, a young knight, toward Eva, the daughter of the goldsmith Pogner — a case of mutual love at first sight. On her way out, with her chaperon Magdalena, Walter accosts her and confesses his love, but hears she is no longer free, as she is to be the bride of the winner at a coming public singing match of the " Meistersingers " (or master-singers). Walter resolves to join their guild and become a competitor. So he remains to be examined at their meeting. David, an apprentice, instructs him in regard to the pedantic mysteries and complicated rules for singing adopted by these master-singers. At last they ap- pear in groups. Pogner announces what the prize is to be at the contest, and Walter, at his request, is examined — much to the disgust of the ugly and disagreeable Beckmesser, who proves to be Walter's only rival, all the other masters being married or widowers. Unfortunately, Beckmesser is chosen as critic, to note down on a blackboard, behind a screen, every violation of Walter's of the pedantic rules. Before Walter's song is half ended, he rushes out, his blackboard covered with marks. The shoemaker-poet, Hans Sachs, speaks in Walter's favor, but is outvoted by the others, and Walter is rejected. Act II. — Narrow street. Hans Sachs' house to the left, Pog- ner's to the rig-ht. Apprentices make fun of David, who is in love with Magdalena. Eva hears of Walter's failure, and resolves to elope with him, but the appearance of the watchman compels 156 them to hide. Once more they start, when the sound of a lute is heard. Beckmesser has come to serenade Eva. Just then Sachs, who wishes to prevent the elopement, moves out his bench, hammers away at a shoe, and sings humorous song's, constantly interrupting the angry Beekmesser's serenade. David comes out, and seeing' the disg'uised Magdalena at the window listening to the serenade intended for Eva, becomes jealous, and unmerci- fully beats Beckmesser. The tumult awakens all the neighbors, who rush into the street and join in the fight, till suddenly the watchman's horn is heard again, and all disperse. Act III. — Hans Sachs is in his room reading and philosophiz- ing. David comes in and sings a charming song about St. John, and leaves. Walter, who on account of the frustrated elopement had spent the night with Sachs, comes down and tells a won- derful dream he had — the melody of the well-known prize-song. Sachs notes it down on paper. They leave. Beckmesser sneaks in and steals the song, thinking it is by the famous Sachs, and hoping to win the prize with it. Eva comes in to have her shoe fitted. Scene ends with the famous quintette. Last scene: a meadow with the city of Nuremberg in the background. Popular festival, singing and dancing. Comic chorus of shoemakers, tailors, and bakers. Grand procession of master-singers. Prize contest. Beckmesser sings first, but gets confused and sings amazing nonsense, until his voice is drowned with laughter. Sachs proposes that anyone who can properly sing that song, though not a member of the Trade Union, shall get the prize. All agree. Walter steps forward, sings it, and wins the bride. STORY OF BAKBEB OF SEVILLE. The Count Almaviva is in love with Bosina, the ward of Dr. Bartolo. After serenading his beloved Bosina, Almaviva en- counters Figaro, the barber, who is factotum of the town. The Count reveals his love for Bosina to Figaro, when they mutually plot to obtain a meeting between the lovers. Dr. Bartolo, hav- ing the intention to make his ward his bride, keeps a strict watch over her and is assisted in his design by Basilio. her music master. But Bosina returns the affection of the Count, and contrives to give him a letter, in which she declares her passion 157 for him, at the same time demanding his name. In order to obtain an interview with Bosina, the Count disguises himself as a. drunken soldier and forces his way into the house of Dr. Bar- tolo, but is discovered. He again assumes the disguise of a music master, and presents himself at the house of Dr. Bartolo; that on account of illness he was sent by Don Basilio to attend Bosnia's lesson. He is introduced to Bosina, and thus obtains the desired interview, and Figaro manages the rest. He obtains the keys of the balcony, arranges for a secret marriage and the escape of Bosina at midnight. The appearance of Don Basilio, however, disconcerts the lovers for the moment. Bartolo also, having got possession of a letter written by Bosina to the Count, excites her jealousy, and obtains her promise to marry him. At the appointed time, however, the Count and Figaro make their appearance, the lovers are reconciled, and the notary engaged by Bartolo is made to celebrate the marriage of Bosina and the Count. At this moment Dr. Bartolo arrives with an officer, into whose hands he intends to consign Figaro and the Count. Mutual explanations are followed by a general reconciliation. The plot- is laid in Seville. 158