MU 50 N3 en Z 5 3''1924'0'98 732 682 Sttity Cox Library Of Music & Oanc« UoeoinHall CoraeHUniversltr PRICE 35 CENTS. ^(klC/lGO ^wpm ANDREAS DIPPEL GENERAL MAMAGER \ u JBREnO THE ORIGINAL ITALIAN. FRENCH OR GERMAN LIBRETTO WITH A. .CORRECT ENGLISH ^TRANSLATION.^ A NATOn/lA m r^( n Published by ^\} U V,N\A thc^ ,1^^ TICKET QTFlcf III BROADWAY, NEW YORK. TRINITY BUILDING (REAR ARCADE) THE ONLY CORRECT AND AUTHORIZED EDITJON. J // We Should Offer to bring MELBA. CARUSO, SEMBRICH, TETRA- ZINA, FARRAR, GADSKI,SCHUMANN-HEINK, or any of the other world-renowned GRAND OPERA ARTISTS TO YOUR HOME to furnish you with an, evening's entertain- ment at any time to suit your convenience, Would You Not Accept the Offer? y/ith a Victor Victrola This rare privilege is yours to command. Heretofore the lowest price for which this wonderful instrument could be purchased was $125. Now we are able to offer the NEW STYLE VICTROLAS 00 and upward. - $75. Will you not allow us to send a Victrola with a choice selection of records to your Home ON FREE TRIAL ? A Postal Card of enquiry will bring you full details. THE AEOUAN COMPANY AEOLIAN HALL, 202 MICHIGAN AVE. - Free Victor Demonstrations Every Day NATOMA 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/cu31924098732682 f. ■•• •^= NEW YORK : G. SCHIRMER ALL RIGHTS OF EEPRODUCTION, TKANSLATION AND REPEESENTATION RESERVED FOE ALL COUNTRIES INCLUDING NORWAY, SWEDEN AND DENMARK Copyright, 1911, by G. Schirmer 22452 CHARACTERS WITH THE CAST FOR THE FIRST PERFORMANCE OF THE OPERA AT THE METROPOLITAN OPERA HOUSE, PHILADELPHIA, ON FEB. 23, 1911. Don Francisco de la Guerra, a noble Spaniard of the old regime Father Peralta, Padre of the Mission Church JtTAN Bautista Alvarado, a young Spaniard Jose Castro, a half-breed Pico Kagama Brtjzzo, an innkeeper Paul Merrill, Lieutenant on the U. S. Brig "Liberty" Barbara de la Guerra, daughter of Don Francisco Natoma, an Indian girl Chiquita, a dancing-girl ■ bravos, comrades of Castro Bass Mr. Huberdeau Bass Mr. Dufranne Baritone Mr. Sammarco Baritone Mr. Preisch Tenor Mr. Crabbe Bass Mr. Nicolay Tenor Soprano Soprano Mr. MacCormack Miss Lillian Grenville Miss Mary Garden Two American Officers ; Sergeant ; Alcalde ; Milk-Boy ; ladies, dignitaries, soldiers, friars, acolytes, nuns, convent-girls, vaqueros, market-women, Spanish dancers, reapers, vineyardists, shepherdesses, sailors The scene of Act I is laid on the Island of Santa Cruz, off the coast of California, two hours' sail from the mainland; Act II, in the plaza of the town of Santa Barbara on the mainland, in front of the Mission Church ; Act III, inside of the Mission Church. Epoch, 1820, under the Spanish regime. [5j FOREWORD Vizcaino, the navigator, in a letter to the King of Spain written in 1603, remarked on the comeliness and unusual intelligence of the Califomian Indian girls. There was with- out doubt among some of these inhabitants a strain of the ancient Aztec race. The literal translation of Natoma is "The Maid from the Mountains." [7] NATOMA An Opera in Three Acts ACT I The scene shows the hacienda of Don Fran- cisco on the Island. Porch left, with entrance showing interior with windows. Semi-tropic treatment, out of doors. Back drop shows blue waters of the Santa Barbara Channel, with dim line of mainland in distance. An arbor and vine-covered well are right, with stone bench around part of well. Main en- trance shows pathway centre. The scene is rich in coloring — a woodland dell. At rise of curtain Don Fean- cisco is discovered at top of hill, gaz- ing over the water toward the mainland. Time, afternoon and evening of a summer's SCENE I Don Francisco Alas! Impatient father that I am! No sign as yet from o'er the water To tell the coming of my daughter. The day with leaden feet is creeping, While my impatient heart is leaping. Oh child of love, oh child of grace, I see in thee thy mother's face. And like a perfume rare. Her gentle spirit fills the air. My Barbara, my Barbara! (Seats himself on bench near the well.) When as a youth I led my bride O'er mountain-chain and oceantide, We dreamed a while to here remain. Afar from our beloved Spain. We wandered o'er this island bower. And found herein a perfect flower; It was a message from above, To bless the union of our love. The flower she gave to me — my bride ; A winsome rose, our joy, our pride. [Entwined within our hearts it grew As fleeting years above us flew. The Reaper claimed my bride his own. And left me with my rose alone. This sunset isle I hold a shrine Wherein to guard my trust divine.] Oh child of love, oh child of grace, I see in thee thy mother's face. And like a perfume rare. Her gentle spirit fills the air. My Barbara, my Barbara! {Horn heard'off stage.) Alvarado, Castro, Pico and Kagama {off stage). Ale I aie! Don Francisco. Can it be my daughter.? {Enter Alvarado, Castro, Pico and Kagama. ) Alvarado. Hail, Don Francisco, hail! D. Francisco. Welcome, Juan Bautista, and also your good friends ! Our island home is greatly honored by your coming. Alvarado {coming forward). My friend and comrade, Don Jose Castro ! D. Francisco. Welcome, Senor! your name is known to me. Castro. Don Francisco, I salute thee! Alvarado. Pico and Kagama of Santa Inez, both mighty hunters and brave fellows ! D. Francisco. Caballeros, I greet you. So seldom do I leave this isle in my advancing years, you must regard me quite a stranger in the land. All. At your service, Senor! (Alvarado and companions take seats.) D. Francisco {claps hands; two servants appear on porch). Tortillas! Mescal! My guests will drink with me. {Servants bow and exeunt into had- •) [9] 10 NATOMA Alvarado. We beg the privilege of a hunt upon the ranges of your hills, where bound the antlered stag and vicious boar. D. Francisco. My isle is yours. {Servants bring out small tables, etc.) D. Francisco. Senores, my house is hon- ored by your presence ! {Lifts flagon; all drink. ) Alvarado. And Barbara, my fair cousin, I fain would greet her and present my com- rades. D. Francisco. I would she were here to greet thee. Castro {aside). She has not come. D. Francisco. This is the day of her re- turn. Her convent years are ended. Since early morn I've peered out o'er the water to find in every sail and white-winged gull the coming of my daughter. [Yet know I well, 'twill be at eventide and when the summer's day has waaed. Father Peralta will bring my daughter home.] Alvarado I oflFer a toast, good friends, And bid you homage pay To one whose beauty lends New lustre to the day: Barbara de la Guerra! Alvarado, Castro, Pico and Kagama. Barbara de la Guerra! D. Francisco. You fill my heart to over- flowing. Alvarado. Come, we must away. The shadows deepen early in the mountains. Our sport awaits us. D. Francisco. Good luck attend you! I beg on your return to come this way. My house, my cellar, my boats, are at your com- mand! The Four. Adios, Senor! Adios, Seiior! (Exeunt. Exit Don Francisco into hacienda. ) SCENE II (Natoma comes up over hill, leading Paul by the hand. She pulls him toward her and stamps her foot. Both are playful and laughing.) Natoma. When I say to you "follow," you must obey me ! Paul. You little witch! Where are you leading me? This is all so strange to me. Natoma. No matter. This is an island of good cheer. We are alone, for at this hour good Don Francisco takes his siesta. Come! come! {Leads Paul to seat around well. Paul seats himself on bench; Natoma sits on the grass in front of him.) Paul. Ah! Natoma, this island hath in- deed a charm! Oh! Natoma, 'tis you who casts a spell o'er all my senses. Natoma. No one has ever spoken unto me as you do. Your voice is soft and gentle. Are all Americanos fair and good to look upon ? Paul. You little wild-flower! Natoma. Tell me about your people and the great land far o'er the water. Speak, and speak again, until I bid you cease — and that will never be. Paul Gentle maiden, tell me, Have I seen thee in my dreams — I wonder.? When above my pillow All the night sheds starry gleams — I wonder? Ever am I haunted By a pair of eyes so deep And gleaming, In whose wealth unfathomed Lie the shafts of love asleep And dreaming. Every glance she gave me Woke my heart and roused ray soul From slumber. Gentle maiden, tell me. Have I seen thee in my dreams — I wonder.'' Come, Natoma ! [We have rowed and wan- dered round this island from morn till even- tide. Every question you have asked me I have freely answered. Yet you tell me noth- NATOMA 11 ing of yourself.] Tell me of your people, tell me of Natoma, and see! (^taking the abalone-amulet, which is hanging from the necklace around Natoma's neck, in his hand.) What is the secret of this charm you guard so closely ? Natoma (crossing her hands against her throat and shrinking from Paul). Would you ask me of my people, Of my father and his father.? Then I bid you now to listen. From the clouds came my first father; Out he stepped upon the mountain Over there upon the mainland, In the early dawn of morning, And his people followed after. Soon there came an awful famine, And his people paled with hunger. Paled with hunger and the famine. Then he went down to the ocean Where the waters roll unceasing, And he prayed unto the Spirit, To the Spirit of the mountain. To the Spirit of the waters. And lo, his prayer was answered. At his feet, in untold numbers. Tossed up by the mighty ocean. Found he there the abalone. Rich with meat the abalone. With this meat he fed his people. Brought to life his starving people. And with prayer they thanked the Spirit. [In the twilight of his lifetime. On his couch within the wigwam. Called the Chief his sons about him, Spoke he to the eldest thus-wise: "I have been upon the mountain. With the Spirit in communion; There the mighty Spirit gave me As a token, with his blessing. This fair shell of abalone. Filled with earth from off the mountain Sealed within the abalone. Bade me guard it in my bosom As a deed of gift and plenty From the Spirit to his people. Thou the strongest, thou the elfiest Shalt succeed to my dominion. On thy neck I hang the token." He then turned his back upon them And his son became the Chieftain. In the ages past this happened. But the gift has come unbroken From one Chieftain to the other. From the father to the eldest. From the mountain to the ocean Has the gift come down unbroken.] In the old age of my father All my brothers had departed. Lost in battle with the stranger. Then my father called me to him. And he said to me, "Natoma, Thou the strongest, thou the eldest, Shalt succeed to my dominion. On thy neck I hang the token. Guard the token in thy bosom As a deed of gift and plenty From the Spirit to his people." Paul. I salute thee, Natoma, Princess, Queen and Ruler of this fair and radiant country ! Natoma. Vanished are my father's people. Now the stranger comes as chieftain. Paul (pointing to hacienda). And there is where lives Barbara, the beautiful Barbara.'' Tell me, Natoma, is she so very beautiful.? Natoma. Barbara, my Barbara! She is more beautiful than the fawn in springtime ! She is more lovely than the poppies on the hillside ! My Barbara ! Her eyes are like the stars in blue water. Her lips are red berries in the dew. When you see her you must love her. Oh, Paul! When you see her you will love her! It had to be ! It had to be ! Oh, Paul ! Take me, beat me, kill me, but let me be your slave ! (Falls at Paul's feet.) Paul (kneeling to her, and taking her hands in his). You little wild-flower, Na- toma! 12 NATOMA SCENE III (Natoma lifts her head, listens, springs to her feet; her whole demeanor changes; she runs to top of hill.) CoNVENT-GiKLS (o/f stage). Ohe! ohe! ohelohe! Natoma. Barbara ! Convent-Girls (off stage) Afloat, afloat in our open boat, We swing on the evening tide ; [Afar, afar on the sandy bar,] The low waves gently glide. We come, we come. Fair isle of the Sunset sea, To bring her home, Sweet Barbara, home to thee. (Servants and retainers come out of hacienda. ) Chorus or Retainers Our gentle mistress comes at last. So lift your voices high ; Her dreary convent days are past, And turned to revelry. All hail, all hail to the gallant sail That brings our joy, our pride ! CoNVENT-GiEis (entering at back) We swing on the evening tide. Ohe! ohe! ohe! The low waves gently glide, Ohe! ohe! ohe! Afloat, afloat in our open boat. We swing on the evening tide. (Father Peealta appears, leading Barbara fez/ the hand.) Full Chorus She comes ! she comes ! With loud acclaim, we cheer her name, And Barbara welcome home. We cheer her name with loud acclaim! All praise to thee, our Holy Church; We thank thee for thy grace And for thy many blessings ! Praise to thee ! Barbara. Natoma ! Natoma. Barbara, my Barbara! D. Francisco (coming out of hacienda). My daughter! (folds her in his arms). Barbara. Father, dear Father! (They embrace. ) D. Francisco (turning to Peralta). To you, illustrious Padre, my house, and all who with me abide, are indebted. Peralta. The debt is ours, Don Fran- cisco! In the beauty of her character your daughter has been an inspiration to all around her. She proclaims with pride and yet with modesty the nobility of both your houses. (During this scene Paul has been stand- ing apart, gazing at Barbara. Their eyes have met. Natoma watches them. Barbara drops her eyes and then looks at Paul again. Paul's eyes do not leave Barbara. Castro is seen by the audience secreted in the arbor. ) D. Francisco. Good friends, I bid you all to enter and drink with me to this glad re- union. But stay! (seeing Paul) we are hon- ored by the presence of a stranger. Natoma. This is Sefior Paul, from the big ship that came from o'er the waters. Paul. I am Lieutenant Paul Merrill of the Brig "Liberty," from the United States. May I do homage to your beautiful daugh- ter.-' (bowing low.) D. Francisco. Come, Father Peralta, and you, Sefior, and good friends all, complete my joy by drinking round my board from a cask of Spanish wine. Come within ! Ensemble While shadows darken around We bid thee welcome home; Where happiness and peace shall be found. Hallowed the ground. No more shall thy footsteps bid thee to roam. We welcome thee home, welcome home ! (Exeunt all except Natoma; Castro still in arbor.) NATOMA 13 SCENE IV Natoma {alone) Oh the wonder of his speaking, Like the wind upon the mountain, Like the river through the valley! Speak to me again, my chieftain! (Casteo appears suddenly and confronts her.) Castko. Can I believe my eyes? You, the idol of our people, the daughter of your mighty father, to fetch and carry for these dogs ! Natoma. Castro, what do you mean? Castro. Hear me ! The Evil One has cast a spell over Natoma, or she would not leave her father's people to spend her days with strangers. Listen to me ! Listen to me ! Your people left the vaUey in disdain, but in the crags of the mountains they pray for a chieftain ! Ah ! Natoma. Behold me ! They call me Jose Castro. It is not my name. I am Tu-ol-um-ne, he who leaves no trail. Your people are my people! Come with me! {at- tempting to take her hand.) Together we will sweep the land of these strangers, as the winter tempest shakes the leaves from the trees ! Natoma. Don't touch me! You are no Indian ! Castro. Softly ! softly ! I would not make you angry ; and yet, methinks, if that young Lieutenant from the big ship asked you to his wigwam, you would not say him nay. Ah, ha ! ha ! ha ! Natoma. You half-breed! {As she goes off, Castro calls out to her, but under his breath.) Castko. It is not you he will ask to his wigwam. It is Barbara. I know it. I saw the glances pass between them. I know it, even if I am a half-breed. {Enter Alvarado, Pico and Kagama. Twilight commences to fall.) Castro. She has come. Alvarado. What, Barbara? Castko. The Padre brought her with the convent-girls; they are all inside, and with them that young officer. Barbara has eyes for no one but him ; she is entranced. Alvarado. You are demented! Castro. It is true! Alvarado. Nonsense! Wait until I see her ! Here, Kagama, Pico, our serenade ! SERENADE Alvakado When the sunlight dies, When the night wind sighs, When the dove is asleep in the tree, I will come, my love, With the stars above. To pay homage, fair cousin, to thee. Where thy feet have pressed, Are the poppies blessed, And the violets yield their perfume ; 'Tis the blushing rose. Everywhere it blows. From thy beauty has stolen its bloom. Oh, my lady-love, oh, my lady-love. Leave me not in the dusk to repine ; Oh, my lady-love, oh, my lady-love, Bid me sing to thy beauty divine! SCENE V (Barbara appears in doorway of porch. ) Barbara. Juan Bautista ! Alvarado. Fairest cousin! Stand where thou art, and put to shame the jewels of the night, that now begin to deck the heavens. Oh, my lady-love, oh, my lady-love. Leave me not in the dusk to repine ; Oh, my lady-love, oh, my lady-love. Bid me sing to thy beauty divine! Barbara. I do recall that song under my convent window. Alvarado. 'Twas I who sang it to thee from behind the manzanita bush. Ah ! beaute- ous Barbara, how sweet of you to remember! Barbara. Fie upon you, Juan ! You sang that same song to Chiquita — or was it Tere- sita.'' — and you swore it was written for her and her alone. 14 NATOMA Alvaeado. Nay, nay ! to thee alone ! Barbara. A little bird flew into the con- vent window with the message ; you know lit- tle birds can sometimes fly even over convent waUs. AiiVARADO. 'Tis calumny! Listen to me, I implore ! {Drinking-chorus heard faintly from hacienda. ) Chorus To him who drinks the wine of Spain, All other joys in life are vain. And Bacchus laughs to see us quaff The good old wine of Spain. Tra la la, la la la ! Barbara (looMng over the scene). Oh, wondrous day, that brings me home once more Alvarado (interrupting). Hear me, Bar- bara ! You're no longer a girl, but a woman. How impatiently have I waited to greet you as such, for you and I together bear the names that claim distinction throughout the land. Chorus And Bacchus laughs to see us quafi'. The good old \^ine of Spain. Alvarado. To-morrow's your Fiesta over there on the mainland, when all the world will pay their tribute to the rich and beautiful Barbara de la Guerra ! But to-night, before this new world is all hers, Juan Bautista, her cousin, tenders his devotion, homage and love. Barbara. 'Tis very sweet of you, Juan Bautista ! Alvarabo. My life is yours, my love is yours, I have but one ambition: to protect you, to shield you from the world. Grant me the privilege, grant me the right! Barbara. I'm sure of your devotion and protection, Juan ! Alvarado. Yes, yes ! Place your hand in mine, and let me announce to-morrow to our expectant friends, that the Church shall pro- nounce the union of our two great names ! Barbara. What, Juan Bautista I you are making me a proposal of marriage? Chorus Tra la la la! Tra la la la! Alvarado. I am, sweet Barbara, with every drop of my heart's blood, my life! my love ! my soul ! Fair one, listen to my vow of love, A vow that from my very soul is spoken! Fair one. Paradise and heaven above I'd give to ravish from thy lips one token. Barbara ! To hold thee in my arms I'm yearn- ing- Fair one, gaze within my eyes To see the fire that still alone for thee is burn- ing ! Fair one, I pray, give me thy reply. On thy answer will I live or die ! Bid me to live or die ! Chorus of Girls (off). Barbara! Bar- bara;! Barbara. Yes, yes, I'm coming! Alvarado. There was a time I was your choice. What has changed my cousin ? There is another! Barbara. Juan Bautista! Juan! Alvarado. And you but a convent-girl! Ha, ha ! Innocence, thy name is Barbara de la Guerra ! Chorus of Girls Barbara ! Barbara ! Barbara. Not another word ! — I'm com- ing. Alvarado. You prefer a stranger! Barbara. Your every word is an insult! I leave you ! (Exit into hacienda. ) Alvarado. Santa Maria! I, Juan Bau- tista Alvarado, to be jilted by this convent- girl, who is mine by every right! 'Tis the damned Americano ! I will have his life ! (Natoma is seen secreted in arbor, listen- ing.) Castro (comes out of shadow). Not so fast! There is a better v/ay. To-morrow at the Fiesta there'll be an hundred of our friends ! When the gayety is at its height, I will have swift horses ready. We can steal NATOMA 15 the girl away to the mountains, where none can follow. The whole country will be with us, for they hate the Americanos ! Be guided by me. AiiVARADO. Castro, you are right ; we must have patience — ^but to-morrow! (Natoma comes forth from the arbor with water-urn on her shoulder, crosses stage and exit behind hacienda.) Alvarado. I never liked that girl. She broods too much. (Night begins to fall.) SCENE VI (Convent-Girls come out of hacienda, with Barbaea ira their midst.) Convent-Girls The hour has come for us to sever Those happy days we've spent together; For now the evening shades are falling, And home the convent bells are calling. Forget us not in all the splendor. The homage new-found friends will r^der ; For time will make our hearts the fonder, No matter where thy steps may wander. (While the Convent-Girls are singing these verses, Alvarado, Castro, Pico, Kagama and, finally, Paul, pass one by one in front of Don Francisco and Barbara, going up stage and fol- lowing Convent-Girls and Peralta. They sing portions of the following lines as a final salute.) We bid thee all good-night. Until the morning light Our glad reunion brings. (Exeunt all excepting Barbara and Don Francisco.) Convent-Girls (im, the distance). Ohelohe! We swing on the evening tide, The low waves gently glide. Oh^ ! ohe ! ohe ! (Don Fkancisco and Barbara em- brace.) Barbara. Let me linger here awhile, and once again breathe the fragrance of the scene ^-my childhood home. D. Francisco. A little while, sweet Bar- bara, and then repose ; for to-morrow hath a myriad pleasant duties for my child. Good- night, good-night ! To-day the years roll backward in their flight. (Exit into hacienda.) SCENE VII: FINALE Barbara (to herself). 0, wondrous night! The shadows fall around me ; in thy protecting arms I am enfolded. Be not too bold, O stars ; I see you peeping thro' the trees. Pray turn thine eyes away, wondrous night! — I have not dreamed of love ! My confidant, oh silver moon, How oft with thee I've held commune, And wondered if the tale be true. That lovers should confide in you. Ah, bid me now, when none can hear. To whisper in thy kindly ear The greatest secret ever told, A story new, and never old. I love him ! In secret hear my vow : I love him! For none shall know but thou. I love him ! Ah, chide me not, I pray ! I love him ! 'Tis all my heart can say, I love him! Paul (entering hurriedly). Let come what will, the magnet of her beauty draws me back again. Barbara. Senor ! Paul. Fair maid, I could not leave thee, I .could not part without one word with thee alone. Barbara. Beware! The danger Paul. Danger.? Barbara. My father-^ Paul. Danger ! Tho' the seas were tempest-tossed, Tho' the waves ran mountain-high, I would their strength defy. And breast the storm that bears me close to thee, Ah, my belovfed, close to thee ! 16 NATOMA Bakbaea (aside) His voice awakes my very soul ! Ah, I dare not reply ! My faltering lips cannot deny My all too willing heart. Paul I love thee, I love thee ! Here I proclaim my adoration! Loved one, my soul cries out to thee ! Baubara I tremble ! my heart is beating ! Paul Turn not away ; it is the voice divine, The voice of love that pleads ; one word From those sweet lips, I do implore thee ! Baebara I cannot say thee nay. Look into my eyes and read the answer there : Both I love thee ! In secret hear my vow : I love thee! For none shall know but thou; I love thee! Ah, chide me not, I pray! I love thee ! 'Tis all my heart can say, I love thee! May heaven hear my prayer ! Beneath the stars I swear. With all my soul I love thee ! With all my soul I love ! (They stand in fond embrace. A light appears m first window of hacienda.) Bakbaea. My father! Good-night! Paul. One kiss upon those tell-tale eyes! (The light in window of hacienda dis- appears, but reappears over doorway. ) Barbara Until to-morrow, good-night! I love thee! (The light disappears from over door- way, but reappears in another win- dow of hacienda further up stage. Barbara reaches porch of hacienda. Paul disappears over rise of ground. Light disappears from window, and Barbara enters doorway of hacienda in the shadow quickly. The light ap- pears in the fourth window of the hacienda; Natoma is seen with a lighted candle in her hand. She places it on a table and seats herself with the light full in her face, resting her chin on her hands with her elbows on the table, and gazing out motionless imto the moonlight.) (Slow curtain.) It IS to be expected that womankind will do the unexpected; it has been so from the beginning. [17] ACT II SCENE I Plaza m front of the Mission Church, which occupies the upper back of the stage and has an arcade extending across right up- per; roadway comes in around arcade. Large fountain at left, also an adobe inn. At right, grand-stand. The music of the prelude indicates the approaching Fiesta. Early dawn. Light shows through musty windows of inn. Na- TOMA comes on cautiously from roadway, keeping in shadow of arcade; she ap- proaches steps in front of main doors of church, hesitates, goes up the steps to small door, pauses, reaches out her hand as if to touch the holy water, pauses again, then turns rapidly away. Natoma (looks over the scene and turns toward centre). No! Within the hour the morning sun will flood the hills, and herald in the summer's day: It is the festal day of my dear mistress, Barbara! I am thy willing slave, thy voice is ever gentle, wise has been thy counsel, to guide the wayward feet of poor Natoma. I wish thee well, I wish thee joy; and may the mighty Spirit crown thee queen of this fair land. {Pauses as if recall- ing something to mind.) How tall and fair and brave was he ! His love was mine, mine for one short hour ! All my heart was his, to take and hold forever. Together we might have wandered through the valleys, over the violet hills, under the mighty oak to make our couch. I would gather for his pillow the dainty fern; he would hold me in his arms beneath the stars, while fireflies played among the trees and from the vale below came the music of the stream. Ever to live in my fair land alone with thee ! The world so far away, my Chieftain by my side ! Alone with thee, far away! Giel's Voice (behind scene). Ah! (Laughter and noise from the inn.) [ Natoma Laugh on, and waste the hour in revel! You think to carry out your plot. And reckon not on one whom you ignore Like so much carrion. 'Tis better so : For if Natoma is to act, She will take counsel with herself. It is the only way. (Church-bell sounds.) The call to prayer. The Padre bids me en- ter in the Church. Often has he told me: "Here shalt thou find peace, content and love." He bids me turn my back upon the faith that thro' the ages has come down from every Chieftain to his people. Fire and eternal tor- ture shall be my lot, if I refuse. I do refuse ! I refuse! Great Manitou, Great Spirit of the hills, Bend low thine ear unto my prayer ! Lend me thine aid in my despair! Hold forth thy hand, Give thy command ; Let not my feet be led astray, Guide me aright this day ! Great Manitou, Great Manitou, I pray to you, I pray to you ! (Exit rapidly.) SCENE II (A shepherd's pipe is heard off stage. Boy appears in the roadway; on his back is slung a large pig-skin milk- gourd. He pauses on steps of church, crosses himself, and then continues down to door of inn. Door opens and Bauzzo comes out, takes milk- gourd from Boy and carries it into irm; Boy follows. A snare-drum is heard off stage. The tramp of sol- diers is also heard. A drummer with four trumpeters appears, after them a Sekgeant followed by a squad of 19] 20 NATOMA soldiers. Two friars come out of the church to receive flag; the Seegeant delivers flag to the friars. The flag is seen mounting. The stage commences to fill. There are several booths at left. The women ar- range and display their wares in the booths. Soldiers inspect wares and flirt with the girls.) Choeus of Women Come, buy! Step up! Come, buy! The daintiest ever seen ! A jewelled belt, a hat of felt, For you, Senor, is just the thing! Take out your purse, untie the string ! Here's what you will from old Seville, New caps and wraps, a pair of shoes, And royal lace all made by hand. In fine array from every land; A piece of braid will win a maid: Now let your sweetheart choose I Chortjs op Soldieus. Our willing hearts you can beguile With witching eyes and loving smile ; Your wares will not our pockets tempt. From that our purses are exempt. Come, drink! Come, drink! A glass of old Mescal. Come, drink! Come, drink! [We wish our Lady well.] Here's health and wealth To her who dares to sip. A glass — my lass! Come, touch your pretty lip! Women To-day we lay Our treasures at your feet. New wraps and caps [And petticoats so neat.] Men Enough ! Enough ! Your chatter fills the air ! Women Don't be so gruff! [You're growling like a bear !] Tenors (Group of guitar and mandolin players; sentimentally). List to our prayer. Fair nymph of azure eyes ! One hour with thee. Indeed, were Paradise. By night and day We dream, both near and far. Of only thee. Of thee, our guiding-star ! Chokus Ha, ha, ha, ha ! your guiding-star ! Oh, love-sick swain, we know that strain ! Ha, ha, ha, ha! {Girls display their wares at booths. The guitar and mandolin players visit the booths. Some soldiers, with the Ser- geant, continue drinking; others mix with crowd.) SCENE III (Cracking of whips is heard off stage.) Chorus The Vaqueros! The Rancheros! Hola ! hola ! hola ! (Two mules appear in roadway, attached • to a large old-fashioned open cart with hay-rack spreading out. It is filled with gayly dressed vaqueros and rancheros. ) Vastjeros and Rancheros (dismounting). Aie! aie! (entering) Good friends and re- tainers all of Don Francisco, aie ! Pico Who dares the bronco wild defy.? Who looks the mustang in the eye.? Fearless and bold. Their master behold : Aie ! With a leap from the ground To the saddle in a bound, And away! Aie! Chorus. Aie ! aie ! aie ! NATOMA 21 Pico See where the bull upon his knees Snorts when his neck we tighter squeeze ; Wild are his eyes ! Fiercely he dies! Aie! Chokus. Aie! aie! aie! Pico Vaqueros, devils to dare! Vaqueros, never a care! Vaqueros, ready to fling Our glove in the ring — mis amigos! Far o'er the mesa we tear, Reata high in the air! Vaqueros, Kings of the Plain, Undaunted we reign! Aie! {Chorus repeat.) {Enter Alvakado and friends.) Sergeant. Welcome, Don Alvarado! Chorus. Long life to Alvarado ! Alvarado. Thanks, good friends! for so I know you all to be. Your kindly welcome fills my heart with pride ! All. Long life to Alvarado ! Alvarado. Here, Bruzzo! Remember, 'tis open house to-day! At my expense they drink with Alvarado! {More applause.) Alvarado {under his breath to CniauiTA). You httle devil! I would rather dance with thee than have absolution for all my sins ! {They dance. Kagama, interrupting dance. ) Kagama. They come! They come! {Trumpets and drums heard of stage.) SCENE IV Atten- Seegeant {to soldiers; spoken). tion ! Fall in ! Castko {aside, to Alvarado). Damn that wench, Chiquita ! Come to your senses, man ! Alvarado {aside, to Castro). Bah! the crowd is with me, our plan is easy! Here, Pico! Are the horses ready? Pico. Ready, Senor, upon the signal! Chorus. They come ! they come ! Alvarado. She'll be mine! Where is the Americano ? Castro. Coming from his ship with a. party of his men. Alvarado. So much the better! 'Twill divert attention. Come, let my welcome to my future bride outherald all the rest ! Women. Hurry, hurry! Make ready ^ make ready ! Men. Get into line there! Women. You take up all the room your- selves, you brutes! Clouds of dust! We see nothing yet ! Men. Stop your chattering ! Be quiet ! All. Here they come ! here they come ! {Convent-girls come out of the arcade.y Con vent-Gir ls Happy day, That bids us to attend In glad array The coming of our friend. Welcome hour, That sends us forth to greet With floral shower The pathway 'neath her feet. Oh happy day ! oh happy day ! Men Don Francisco comes, our noble Don ! How well he rides his haughty steed! Women Don Francisco comes, our mistress by his side f {Enter Don Francisco, Barbara on horseback, Natoma on foot at Bar- bara's side.) Chorus Hail, fair Barbara ! To noble Don Francisco, hail! {They dismount, and make circuit of stage to grand-stand.) Oh happy day ! oh happy day !• Don Francisco. Good friends, retainers, trusty servants all, we greet ye, and give our «2 NATOMA hearty thanks for this inspiring welcome. Pamiliar faces here I see from all the con- fines of our land, each vying with the other in expression of their joy and in devotion to our house. Too soon the fleeting years de- prive me of my little girl, but bring to me in- stead a woman grown; and when I gaze into her eyes I see reflected there the image of my •own fair bride — her mother. A fair Castilian rose I plucked from our heloved Spain. It is transplanted here. Her noble spirit still survives within the heart of this, our daughter! (Natoma kneels before Don Francisco, holding a pillow upon which is placed a piece of old Castilian lace.) And here upon her brow I place. According to the custom of our land, This woof of royal lace. From olden time bequeathed to her Who doth succeed to title and estate. (Natoma pins the lace over Baebaea's head and down her back.) Choeus Around thy radiant brow we bid thee wear the crown; Thy loving subjects hail thy domain! Long may'st thou reign ! May angels from above 'Thy hand guide with love! Bakbaea. Dear Father, friends of my girlhood and all who came to wish me happi- ness to-day: I have no words with which to tell how overflowing is my heart. Forgive me, if I am bewildered. My dear mother I never knew; but in my dreams A voice has come to me and whispered: ■"Rule thou by love, let kindness be thy aim ; I live in thee, to all the world proclaim." This precept, by gift divine Shall be my daily prayer. (Changing from grave to gay.) Good friends, I am of age! It is my festal day! Make merry, fill the air to-day With merriment and roundelay; Dull care, away I list the trill in golden throat Of yonder bird on wing afloat, Bearing the message far and near, "Awake, my love, the Spring is here !" The tiny rill adown the vale Unto the brooklet tells the tale; Singing together, on they go To join the river far below. Across the field of ripening grain The zephyrs bear the same refrain. From every bough, from every tree, I hear again the melody. The wind that plays within the sheaf. Carries the tale to silver leaf; The drowsy poppy hears the bee Humming the song in ecstasy. Fly forth, ye minions of the sky ! Our happiness sing out on high, Bearing the message far and near: Awake, my love, the Spring is here ! =^ Alvaeado I off'er a toast, good friends ! To one whose radiant beauty lends New lustre to the day : Barbara de la Guerra ! All. Barbara de la Guerra ! Alvaeado. May I have the honor and the privilege, my cousin, to take you by the hand and show to all our loving friends that those graceful steps which in the golden days found favor with my noble aunt, your mother, are still the heritage of her lovely daughter.'' Baebaea. Willingly wiU I obey the custom Of the olden time, and tread a measure. If by so doing I may give pleasure To all assembled here. NATOMA 23 (They dance the minuet, continumg un- til a cannon-shot is heard. The music stops; AiiVARADo would go on; an- other cannon-shot sounds, and Ka- GAMA enters.) Kagama. Don Francisco, the ship of the Americanos is saluting. An envoy and guard of honor have disembarked, and come this way! Don Francisco. Bid them welcome, we will greet them ! It is a tribute to our Sov- ereign. Show them every honor! SCENE V Sailors (off stage) Blow, Boreas, blow! Old Neptune, shake your locks! We'll trim our maid in her daintiest braid And flaunt her prettiest frocks ! Blow, Boreas, blow ! {Entering.) We round the Horn and laugh to scorn Old Scylla and Carib. We stick our nose wherever it blows. And never stow a jib. {Enter Paul and BROTHEa-OFricERS. ) Blow, Boreas, blow! etc. Paul (bowing to Don Francisco). My commander as envoy bids me come, to tender you his compliments and ask you to accept the good-will of his government. Here upon this far-off shore, where Nature spreads with open arms the treasures of her fields, we would salute your sovereign flag, the noble pennant of historic Spain! No country can my own outvie In tribute to the one Who held the flag of Spain on high Toward the setting sun. His noble figure stands apart In sacred trust to hold ; Upon our shield, upon our heart, His name is stamped in gold. Columbus ! Led on by hand divine, Columbus ! My country's love is thine I The sail that fills with f av'ring wind Is guided by command Of some immortal Goddess kind. Who bids us where to land. The spirit that directed thee. Great Captain, safe to shore. Is goddess of our Liberty, Whose name we all adore. Columbia ! Bright Goddess of the free ! Columbia ! We pledge our love to thee ! Don Francisco. Your noble sentiments inspire our hearts anew with friendship and good-will for all your countrymen! With pride and pleasure do we welcome thee ! (Paul mounts upon grand-stand.) Alvarado. Fairest cousin! Thou hast not forgot.'' We do attend upon thy dainty steps. Now let our dance proceed. (Barbara, who has been talking for- mally and with reserve to Paul, hesi- tates, then steps down to join Al- varado. The several groups of danc- ers take part in the dance, which grows louder and louder, until sud- denly each of the groups breaks into the Panuelo or handkerchief -dance. It is a dance of declaration, which be- comes more and more impassioned un- til, as a climax, each man takes his hat and places it on his partner's head. Alvarado does as the others do. At the tableau all the girls retain the hats on their heads. Alvarado's hat rests an instant on Barbara's head; when she tosses it off and turns toward the grand-stand. ) Chorus. She jilts him! It cannot be! He is refused! Alvarado (aside, picking up his hat). Once again — and this time before the world! Damnation ! Don Francisco (giving his hand to Bar- bara as she mounts the steps). Nay, nay, my friends! A dance is but a dance. On with the Fiesta! 24 NATOMA SCENE VI Castro {commg suddenly from inn). These mincing steps and these grimaces are but mockery! You smirk and bob Hke pup- pets, you bow and scrape like midgets to a love-sick guitar. Who dares to dance with Castro ? I offer you no puny minuet ! I bid you meet me in the ancient dagger-dance of the Calif ornians ! {Strikes his dagger fiercely in ground.) Come! Will you?! or you?! or you ? ! Come ! {Makes circuit of stage, like a panther. ) I challenge you one and all ! {Takes attitude of defiance. The crowd turns away with show of disinclination.) (Natoma rises slowly. She walks to centre, takes dagger from her belt, and sticks it next to that of Castro.) Chorus. Natoma ! Castro. You? No! No! (Natoma draws up to full height and points sternly at the daggers, looking steadfastly at Castro. Castro makes a nild gesture. They pose for the dance. As the dance progresses, Alvarado is seen removing his serape from his shoulders. Pico and Kagama proceed to remove the railing of the grand- stand, so that Barbara sits facing centre, unprotected. The music grows in dramatic fervor. In unison Castro and Natoma pluck the two daggers from the ground, and break. They come together and pass each other twice. At this moment Alvarado smothers Barbara in his serape; Pico is seen with horses in roadway. Al- varado and Kagama take Barbara off of grand-stand and are proceeding to carry her off. The dance is at its fiercest. Natoma makes a sweeping lunge at Castro, but purposely passes him; rushes right front, and plunges her dagger into Alvarado. The dance comes to a stop with a crash.) FINALE Alvarado. Dios! {Falls and dies.) Chorus. Kill her! Away with her! Paul {to sailors). To the rescue! {Sailors and soldiers rush between crowd and Natoma.) Crowd. Kill her ! Away with her ! {Large doors of church swing open. Peralta appears on steps. He is holding aloft his cross.) Peralta. Hold ! hold ! nomine Christi ! {Crowd turns toward Peralta. At sight of cross they fall to their knees. Peralta looks at Natoma and makes a gesture of protection with his free hand and arm. Natoma goes to step's of church; she drops dagger and falls at the feet of Peralta.) Peralta {still holding aloft the cross). Vengeance is mine, saith the Lord! I AM AN INDIAN [25 1 ACT III SCENE I Interior of mission church. As curtain rises Natoma is alone vn the church, huddled on the steps of the altar. She rocks to and fro with her arms and head on her knees. Natoma Beware of the hawk, my baby, Beware of the hawk, my child ! It flies in wide, wide circles And turns upon the wing, Too quick for the eye to follow : Beware ! Beware ! Beware ! Lie down in the nest, my baby. Lie down in the nest, my child ; The willow-bough will hide you And rock you in its arms ; So sleep until to-morrow: Lie down, lie down, lie down. {She lifts her head and puts her hand to her throat, feeling the amulet, which she presses to her heart. She rises, and steps down to space vn front of altar.) Natoma (in front of altar-rail). Lonely am I, lonely is my heart; I feel it beating here within like the breaking of the sea against the shore. I would cry out! Ah! Yet all around me are these walls that only echo back my voice : Lonely am I ! What mean these gloomy shadows, these unknown shapes that point their fingers at me? There is a mist before my eyes, I walk in darkness. (Coming centre.) The eyes of my people were cold and dark; The eyes of the stranger were soft and blue, His voice was the call of the dove to his mate. His breath was honey on the wings of the bee ; His song was the song of the morning. That bids the flower to lift her head And hail the coming of the dawn ! L I was tempted, I have done wrong, I thought only of Natoma. False have I been, false to myself, false to my father's teaching, false to my people's faith! Manitou! hear me! I have awakened! I will go to my people. The voice of my father is calling, "This land is ours !" We will rush from out the mountain Like the lightning, like the thunder, Every stranger and his house Shall lie buried 'neath our anger. In my breast I hold the token, And the gift shall be unbroken From the Spirit to his people. (Father Peualta comes from back of altar, and appears on steps.) Peralta. Peace! Peace in the House of God! Natoma (looking up at him defiantly). Your God, not my God ! Peealta. Our God, my child. There is but one God, the mighty Spirit of your peo- ple and of mine. This is His house, builded to protect, to shield, to help us both. Natoma (turning her head). I want no help from any one. Peralta. Thou art indeed in need of help. Natoma. I will go my way. Peralta (coming down). Turn not away, my child! Lift up thine eyes, and greet the light of eternal love ! Two children wandered hand in hand. And played amid the golden sand. The one was dark and sad of face. The other fair and full of grace. The light of love shone in their eyes ; O childhood days, O Paradise! Natoma. My Barbara! (spoken.) 27 J 28 NATOMA Peealta Unharmed, the lark poured forth its trill, Sang out its lay from hill to hill, And every flower awoke to thrill With God's great song, "On Earth good-will." O Faith divine ! O Power of Love ! This is the message from above. (With great fervor.) My child of the lonely heart, the same love that was yours in the golden sands awaits you here. The eyes of the Madonna are looking into thine; She holds out Her arms to thee ; She will take thee unto Her great heart; She will lift thy soul until it joins the spirit of thy Father in the clouds above the mountain. (Natoma has gradually lifted her face until she looks far away into space.) Natoma (ira quiet ecstasy). Love shall be repaid by love. There is one I wish to make happy; my love is my faith! I will do thy bidding: {coming close to Pebalta) I have spoken ! Pekalta (with great joy). Glory to the power of love ! All praise to our Lady, who speaks through this child! (Turns toward crucifix.) Now let all that trust in Thee re- joice! (Peralta walks rapidly up altar steps and taps a hell. An acolyte appears; Pebalta has a word with him in pan- tomime. Natoma approaches steps of altar and stands motionless on lower step. The sunlight dies down; acolytes commence to light Candles on altar. Choir is seen gathering in organ-loft. An acolyte brings Pebalta his vest- ments, which he dons. Two friars cross church to doors. Pebalta gives the signal for the simultaneous open- ing of the doors and the beginning of the chorale. ) Choib of Monks Te lucis ante terminum, Rerum Creator, poscimus, Ut pro tua dementia Sis praesul et custodia. Deo Patri sit gloria, Et Filio, qui a mortuis Surrexit, ac paraclito. In sempiterna saecula. (As choir commences the above, the monks open both doors wide. The church commences to fill. Paul's brother-of- ficers enter, then ladies and dignitaries. Paul enters, and takes seat near and facing altar. Don Fbancisco and Babbaba enter last, taking seats across aisle from Paul, facing altar. Na- toma is standing on lower step of al- tar, recognizing no one. At the end of this service the music dies down to a pedal-point on the organ; Peralta mounts pulpit.) Peralta (spoken). My children: Our steps are taken in darkness, but the light of Eternal Love shall make our pathway clear. Judge not, that ye be not judged. (imtoned) Come unto me, all ye that labor and are heavy laden, and I will give you rest. Finale (From behind the convent-garden door are heard the voices of the Ursuline nuns in their chorale of praise on the reception into their order of a new convert. ) Chorus of Nuns (off stage). Sanctus! Sanctus ! Sanctus ! Dominus Deus Sabaoth 1 Pleni sunt coeli et terra gloria tua. Hosanna in excelsis. (Chorus of nuns- enter, and form two rows. The choir in organ-loft takes up the theme of nuns' chorus. It reaches a climax with the nuns kneel- ing on either side of cross-aisle. Na- toma turns her head and looks at Peralta in the pulpit. He bows to her very slightly and benignly. Na- toma steps slowly down toward the maim aisle. She walks down main aisle, reaches the pews where Paul and Bar- bara are seated, pauses, and turns NATOMA 29 facing altar. Barbaea and Paul, as though under the spell of some control- ling power, come into aisle and kneel in front of Natoma, who takes the am- ulet from off her neck and places it over Barbaka's shoulders. She then turns and continues down main aisle to cross-aisle, then turns and walks be- tween the kneeling nuns up cross-aisle to open door of convent-garden. She stands there with back to audience. The nuns rise and walk past her on either side. Pekalta lifts both hands im benediction. Paul and Barbara are still kneeling in aisle. Finally Na- toma passes through doorway of con- vent-garden. The doors close upon her.) Curtain. GRAND OPERA SEASON 1910-19U GIULIO GATTI-CASAZZA. General Manager Tuesday Evening, iVlaroh 38, IQll, at 7.4S o'clock _ . PRESENTED BY THE PHILADELPHIA-CHICAGO GRAND OPERA COMPANY ANDREAS DIPPEL, General Manager I^urth Subscription Performance. Series B IL SEQRETO DI SUSANNA COUNT GIL . . COUNTES.S GIIj. SANTE . . . INTBRMezZO IN ONE ACT (In 'Italian) By ERMANNO WOLF-FERRARI ( Scene: A Room in the Castle of Count Gil. FOLMfWEfi BY . MARIO SAMMARCO . CAROLINA WHITE FRANCESCO DADDI IN A MA 7vS OPERA IN THREE ACTvS ^Libretto by JOSEPH D. REDDING i-!> (In Englisfi) tjA Music by VICTORTHERBERT ij NATOMA . S^ BARBARA . . '(M LIEUT. PAUL MERRILL . .... K DON FRANCISCO tS) FATHER PERALTA ... fr*, JUAN BAUTISTA ALVARADO ... jy» PICO ^;,f KAGAMA ... fe JOSE CASTRO . . 'A CHIQUITA W A VOICE . . ... ^ SERGEANT V GENERAL MUSICAL DIRECTOR . ^Ij SLlse Diuc'.cr . ... FERNAND AI,MNLY AT AEOLIAN HALL.