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 OLD YORK LIBRARY — OLD YORK FOUNDATION 
 
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 ?6 
 
Avery Architectural and Fine Arts Library 
 Gift of Seymour B. Durst Old York Library 
 
ALL 
 THE OPERAS 
 
 PRODUCED AT THE 
 
 MANHATTAN OPERA HOUSE 
 
 SEASON 1908-09. 
 
 OSCAR HAMMERSTEIN. 
 
 WITH PLOTS, INCIDENTS AND SITUATIONS TERSELY 
 TOLD SCENE BY SCENE, ACT BY ACT, COMPLETE. 
 
 COPYRIGHT 1908. 
 
 PUBLISHED BY HENRI ROGOW8KI, 
 442 PEARL. STREET, NEW YORK. 
 
\ c ]\)% 
 
 } 3 
 
EDITOR'S NOTE 
 
 This little book is intended to facilitate the immediate compre- 
 hension of any one or all of the operas in the repertory of the 
 Manhattan Opera House during the present season of 1908-9. 
 
 A glance at the opera of the night will enable the reader to 
 intelligently follow the action of the play and to understand the 
 motives that animate the characters, scene by scene and act by act. 
 
 It is in no sense intended to enter into rivalry with the excellent 
 librettos sold inside the house but which cannot be satisfactorily 
 followed in an auditorium always darkened while the performance 
 proceeds. 
 
 And there is the additional advantage that, while a libretto 
 tells only the story of the night, the operagoer may by means of 
 this book not only refresh his or her memory as to past perform- 
 ances, but gain a clear insight about others to come. Casual 
 and frequent patrons of the Manhattan will, in short, find it a 
 handy book to keep in the house. 
 
 H-4sHJX*s4, 
 
 U LA4- CJ&sUX* . 
 
Digitized by the Internet Archive 
 in 2013 
 
 http://archive.org/details/alloperasproduceOOnewy 
 
La Sonnambula 
 
 A Grand Opera in Three Acts. 
 Music by Bellini. 
 
 ACT I. 
 
 The scene is a village green in Switzerland, with moun- 
 tains in the distance, and at the rear of the stage a 
 water mill. The villagers are celebrating the betrothal 
 of Amina to Elvino, and everybody seems to be happy, 
 excepting Lisa, the keeper of the inn, who> is in love 
 with Elvino herself. Amina enters and the inevitable 
 Notary, and the contract is signed. As compliments 
 pour in the cracking of whips is heard, and Count Ro- 
 dolph enters. He takes much interest in the scene 
 around him, and, attracted by the prettiness of Amina, 
 he pays her such marked attention that Elvino has a 
 fit of jealousy. As night comes on all go their ways, 
 Amina and Elvino having a little tiff and a make-up 
 before they part. 
 
 ACT II. 
 
 This is the Count's sleeping apartment at the inn. 
 He is shown to his room by Lisa, with whom he has 
 a scene of rather warm flirtation, when a noise is heard 
 outside, and Lisa runs to a closet to conceal herself, 
 dropping her handkerchief, however, on the way. The 
 window is thrown open and Amina enters walking in 
 her sleep, and, going to the bed, lies down. The Count, 
 seeing the condition of affairs, leaves. No sooner has 
 he done so than Lisa rushes out and informs Elvino of 
 Amina's whereabouts. He comes in accompanied by 
 the villagers, and Amina wakes, unable to account for 
 her presence there. Elvino will not be appeased and 
 will not believe in her protestations of innocence. He 
 and the villagers turn from her in disdain. 
 
ACT III. 
 
 Amina is sadly stricken, as she has been unable to 
 regain the affection of Elvino. The Count meets him, 
 however, and tries to set matters right. He is still in 
 doubt, when Amina appears at the window of the mill 
 walking once more in her sleep. She crosses a frail 
 bridge, which almost gives way under her, and comes 
 down, muttering almost incoherent expressions of love 
 for Elvino. Now convinced that all was right, Elvino 
 clasps Amina in his arms, and she awakes to a full 
 realization of a happy turn of affairs. Lisa, who has 
 obtained Elvino's promise to marry her, is spurned by 
 all as the handkerchief she left in the Count's room has 
 been found there, and, of course, the worst possible in- 
 terpretation has been put upon it. 
 
 Bellini was just reaching the height of his fame when La 
 Sonnambula was^ produced at the Carcani Theatre in Milan in 
 1831. It has held the boards ever since by reason of its pleas- 
 ing melodies,, but principally because it has served to popularize 
 many prime donne with light and facile voices. It was Patti's 
 favorite in her early days. In comparatively^ recent years Gerster 
 made her fame in this tuneful, brilliant but immature work. No 
 doubt it will go on serving the same purpose, hackneyed as it is. 
 
Carmen 
 
 Opera in Four Acts. 
 
 From the Novel by Prosper Merimee. 
 
 Music by Georges Bizet. 
 
 THE CAST. 
 
 Don Jose. Morales, 
 
 escamillo, llllas pastia. 
 
 Il Dancairo. Carmen. 
 
 Il Remendado. Micaela. 
 
 Zuniga. Frasquita. 
 Mercedes. 
 
 ACT I. 
 
 Jn Spain, at and about Seville, 1820. A square where, 
 amid much movement of the populace, the guard is being 
 changed. Don Jose comes on in command of the relief. 
 The girls from the tobacco factory enter, among them 
 Carmen, who, piqued at the indifference of Jose, puts 
 herself out to attract his notice and throws him a small 
 bunch of flowers. This excites in him a slight interest, 
 quickly dispelled by the entrance of Micaela, his sweet- 
 heart from the mountains, who brings him a message 
 and money from his mother. She soon goes, however, 
 and a disturbance is heard among the factory girls, and 
 Carmen's name is bandied about. Jose goes within and 
 leads out Carmen, who has stabbed another girl in a dis- 
 pute. He is ordered to tie her hands and guard her while 
 commitment papers are made out. During this time Car- 
 men tries her every art upon him and — he succumbs. It 
 is arranged that he shall loose her hands and as they reach 
 the foot of the bridge she shall push him over and escape. 
 They are to meet afterwards. The thing is carried out 
 and, reaching the top of the bridge, Carmen laughs at the 
 officer and soldiers. 
 
ACT II. 
 
 The inn of Lillas Pastia. Carmen is there enjoying 
 herself with her friends, the gypsy smugglers. Zuniga, 
 the officer of the first act, pays her attention and tells her 
 that Don Jose has just finished his term for conniving 
 at her escape. Carmen is pleased, when a tumult is 
 heard and Escamillo, a bull fighter, appears and monop- 
 olizes all eyes and ears. He also is smitten by Carmen 
 and she responds to his advances. The order is given 
 to close and all go when the Dancairo and Remendado. 
 coming in, propose a profitable smuggling expedition. 
 Frasquita and Mercedes will go and try to persuade Car 
 1 en to do so. But she must await her lover, Don Jose. 
 They tell her to make him come, too. She will try. 
 The otl e-*s skip out as Jose's voice is heard. The two 
 n eet with great fervor, but there is a change in Jose 
 when < armen proposes desertion to him. She twits him 
 with his weak love and Jose is hesitating, when Zuniga. 
 tl e officer, appears and orders him harshly to his quar- 
 ters. Jose refuses, Zuniga draws his sword and they 
 fight. After drawing on an officer there is no hope for 
 Jose, so he escapes with Carmen as the gypsies rush in 
 and make Zuniga a prisoner. 
 
 ACT III. 
 
 The smugglers are encamped in a mountain defile. 
 Jose is madly in love, but Carmen is tiring of him. Sh<r 
 reads the cards and sees her death presaged. But she 
 throws off the despondency. Escamillo, who has been 
 looking for Carmen, enters the defile and meets Jose, 
 telling him his object is love and that he understands 
 she is sick of her soldier lover. Jose challenges him and 
 they draw knives. Escamillo is losing ground when Car- 
 men and others arrest the fight. Escamillo leaves after 
 inviting them all to the bull fight at Seville. Then 
 Micaela arrives to beg Jose to go see his mother, who 
 
 8 
 
weeps for him. Jose won't leave Carmen, but when 
 Micaela tells him his mother is dying he consents to fol- 
 low her. 
 
 ACT IV. 
 
 The outside of the old bull arena in Seville. The whole 
 city is astir. Frasquita warns Carmen, who has come in 
 radiant on the arm of Escamillo, who immediately enters 
 the ring, that Jose is about, looking for her. Carmen 
 does not care. When all are gone Jose confronts her 
 He pleads. She answers with contempt. He still begs 
 for a word of kindness, she reviles him. But when she 
 turns to go and join Escamillo he draws his knife. She 
 runs, he pursues her. Then he strikes and she falls dead 
 as the people rush out of the arena. 
 
 Though Georges Bizet had in his early years won the Prix 
 de Rome and also a prize offered by Offenbach for the best one- 
 act opera on Doctor Miracle, he was uniformly unsuc- 
 cessful in his operatic endeavors until his musical setting to 
 Daudet's U Arlesienne brought him much praise and little money. 
 He was already a man broken in spirit and health when Carmen 
 was brought out at the Opera Comique on March 3, 1875, and. 
 though its success was immediate and immense, it came too late. 
 Bizet died within three months after the first performance and 
 before he knew that not Paris alone but the whole world was to 
 recognize his genius. Wagner considered Bizet the greatest 
 French composer. 
 
Les Pecheurs de Perles 
 
 (The Pearl Fishers.) 
 
 Opera Comique in Three Acts. 
 
 Words by Michel Carre. 
 
 Music by Georges Bizet. 
 
 THE CAST. 
 
 Nadir. Leila, 
 
 zurga. nourabad. 
 
 ACT I. 
 
 A ruined Hindu temple looking on the Indian Ocean. 
 on the Island of Ceylon. The Pearl Fishers, Indians 
 and fakirs or priests of Brahma, make Zurga their 
 chief, or king, and all are going to their avocations 
 when Nadir, a runner of the woods, comes among 
 them. He is known to all, but particularly to Zurga. 
 They used to be companions, but both fell in love with 
 the same woman, a priestess of Brahma. In place of 
 killing one another over it they both swore to see her 
 no more and parted. They have kept their words and 
 meet as friends again. Music now announces the ar- 
 rival of Nourabad, the high priest, and Leila, a veiled 
 woman who is vowed to the good fortune of the fish 
 eries. She is to remain by the temple and pray. Great 
 will be her reward, but any lapse from purity, even 
 speech with man, will mean death. At first she demurs, 
 but seeing Nadir, accepts and is conducted up to a 
 plateau by the priests. The fishermen then depart an ' 
 Zurga follows, after bidding Nadir a friendly good-by 
 Nadir is for going, too, when he catches a glimpse o* 
 Leila and is amazed to see in her the woman he has so 
 long loved. She sees his emotion and warns him of 
 his danger He must not address her lest death be his 
 
 10 
 
portion. As Nadir hesitates Nourabad leads Leila 
 within the temple. 
 
 ACT II. 
 
 Night is coming on and Nourabad tells Leila that 
 she may go to her repose. She revolts at being left 
 alone in so inhospitable a place, but the high priest 
 assures her that she is well guarded. He has not long 
 departed, however, before Nadir announces himself 
 with the sounds of a lute. Leila, when he comes, im- 
 plores him to go away, as he values her safety and his 
 own. But his ardent words soon overcome cold rea- 
 son, and each avows to the other undying love. He is 
 to come on the morrow and escape with her. This, 
 however, is thwarted by Nourabad, who discovers them 
 together and who at once raises an outcry that brings 
 all the people running in to see the cause of the tumult. 
 Nourabad explains and Leila is seized, also Nadir, who 
 had gone on his way before the disturbance. As the 
 priests are about to take both away Zurga arrives and 
 listens to the complaint. For the sake of Nadir, his 
 friend, he treats the matter lightly and orders the re- 
 lease of both. Nourabad, saying that they had better 
 know who the woman is, tears the veil from her and 
 reveals to the astonished eyes of Zurga the face of her 
 whom he and Nadir had loved. Then his partiality 
 toward both changes to hate, and he orders their death. 
 Leila implores, but Nadir disdains to ask for mercy! 
 They are dragged off separate ways. 
 
 ACT III. 
 
 Zurga is in his tent. He cannot find it in himself to 
 have Nadir, the friend of his youth, go thus to his 
 death. He is ashamed of his own baseness. Leila, well 
 guarded, comes to him and asks him in common jus- 
 tice to release Nadir, as she was alone at fault and is 
 the only one deserving death. Zurga is surprised at 
 
 ii 
 
this abnegation, and asks why. Because, she answers, 
 she loves Nadir. Then Zurga flies into a fit of ungov- 
 ernable fury and swears that Nadir shall die. She, by 
 her avowal, had condemned him. She begs, but 
 he is adamant. Before being taken away she hands a 
 pendant to a young Cingalee with a request that it be 
 given to her mother. After she leaves Zurga examines 
 the pendant and recognizes it as one he had given to a 
 young girl years before for saving him from his ene- 
 mies. He rushes away to undo his work. In the next 
 scene they are awaiting the victims. Nadir has his 
 foot on the first step to death when Zurga rushes in, 
 saying that the village is on fire. He takes advantage 
 of the disappearance of the watchers to tell Nadir and 
 Leila that he himself lighted the fire to give them a 
 chance to escape. As they do so Nourabad, who has 
 overheard Zurga's confession, brings all back and ac- 
 cuses him of treason. Zurga is thus compelled to 
 mount the scaffold prepared for Nadir and Leila, whom 
 he saved. 
 
 This work of Bizet's was originally brought out at the Thea- 
 tre Lyrique in Paris in 1863. For some reason it had no great 
 success and when brought out here at the Metropolitan with 
 Calve in the days of Abbey, Schoeffel and Grau it had only one 
 performance. Yet the music is beautiful. 
 
 12 
 
Princesse d'Jluberge 
 
 (Princess of the Inn.) 
 
 Opera in Three Acts. 
 
 Original Flemish by Nestor de Tiere. 
 
 French Words by Gustave Lagye. 
 
 Music by Jan Blockx. 
 
 THE CAST. 
 
 Bluts, Innkeeper. Katelyne. 
 
 Rita, his daughter. Merlyn, her son, a musician. 
 
 Reinilde, adopted daughter Marcus, a musician, 
 
 of Katelyne. Rita's Three Sisters. 
 Rabo, a blacksmith 
 
 The action passes at Brussels in 1750. 
 
 ACT I. 
 
 In front of Bluts' tavern, at break of day. Peasants 
 enter and go. Rabo, sleeping at the door of the inn, is 
 kicked by a man coming out and rises, angry, wanting 
 to know who he is, but the stranger escapes. Reinilde 
 going to church meets Marcus, who tells her that he 
 loves her, but she answers that Merlyn alone has her 
 heart, though he replies that art alone holds his. As 
 they go off the crowd begins to assemble, the windows 
 of the inn open and Rita appears with her three sisters. 
 A crowd of young men tempestuously greet her and 
 enter the inn as Bluts, already drunk, comes in with 
 his friends. Then Merlyn appears accompanied by 
 Marcus, who asks him why he does not join the joyous 
 throng. He answers that art is his only mistress and 
 his sole ambition is to gain the prize offered in the 
 great national competition. As they talk Rita and her 
 sisters, Bluts, his companions and the jolly company 
 emerge from the inn and join in song and dance while 
 the scandalized neighbors appear at their windows, 
 
 13 
 
Marcus endeavors to bring Rita and Merlyn together, 
 but the latter resists. He rejects her approaches. She, 
 piqued, redoubles her endearments and he ultimately 
 accepts a glass of wine from her hand. She embraces 
 him and he yields to the charm of her presence and, glass 
 in hand, toasts her while all applaud, all except Rabo, 
 who stands jealous and menacing in the background. 
 
 ACT II. 
 
 The living room in Katelyne's house. She is alone 
 and laments the three months that her son, Merlyn, 
 has given himself over to debauch. Reinilde, who still 
 loves Merlyn, weeps with her. As Merlyn enters, all 
 in disorder, Reinilde retires to a corner. The sounds 
 of the carnival are heard from outside. Merlyn tries 
 to work, but impatiently pushes the papers aside. 
 Reinilde gently sings one of his own songs to him. In 
 it she pleads for a return of his better self. Merlyn, 
 touched, promises to change his manner of life and as 
 the songs of the carnival are heard again he speaks 
 with disgust of such pleasures. Just then Bluts, ac- 
 companied by Rabo, enters to dun Merlyn for a wine 
 bill. Merlyn has no money and, to get rid of them, 
 reinilde pays. Humiliated beyond measure, Merlyn 
 resolves to be a man again and when Marcus enters 
 confides his decision to him. Marcus answers that it 
 is just as well, for Rita, offended by Merlyn's coolness, 
 had lately shown an inclination for a certain rhymster. 
 This excites Merlyn's jealousy and he becomes furious. 
 r\t this moment Rita and her sisters appear in carnival 
 costume. Merlyn reproaches her for coming, here, but 
 Rita laughs it off while Marcus runs to fetch Reinilde. 
 Rita wants Merlyn to join them in their pleasures. 
 He reproaches her with caring for another, but -she as- 
 sures him that he is her only love, and under the in- 
 fluence of her fascination he soons forgets all his good 
 
 14 
 
resolutions, falls back under her influence and drags 
 her away. Just then Katelyne and Reinilde come back 
 to see the ruin of their hopes. Marcus appears and 
 telling Reinilde again of his love points to Merlyn as 
 irrevocably lost. Reinilde contemptuously rejects him 
 and swears she will save Merlyn yet. Marcus rages. 
 
 SCENE TWO. The Public Place in Brussels. It 
 is the celebration of' the carnival and crowds invade 
 the stage. Notable among them are Merlyn and Rita, 
 crowned as Zephir and Flora in the centre of a float 
 and holding each other embraced. Rabo contemplates 
 them with hatred and curses them. Amid general re- 
 joicing the curtain falls. 
 
 ACT III. 
 
 Interior of the inn. Rita lets it be known that Mer- 
 lyn is asleep within. Rabo enters and threateningly 
 reproaches her for loving Merlyn. She asks what 
 business it is of his. He reminds her of the time when 
 he dressed well and had money and spent it on her. 
 Now that he is a drunkard she spurns him in favor of 
 another. She tells him if he does not like it to get out. 
 He leaves, saying a barking dog will at last bite. Then 
 the three sisters come in and tell Rita she is a fool to 
 love a man who can no longer pay his way. Rita tells 
 them that as she draws all the money to the inn she is 
 the princess, they are mere servants. As the row ends 
 Katelyne and Reinilde come to beg Rita not to further 
 ruin Merlyn. Rita treats them with disdain, and Rein- 
 ilde turns angrily upon her and threatens her with 
 punishment. Rita laughs at them as they go. Merlyn 
 then comes from an inner room, the worse for wear, 
 and calls for wine as several of his friends come in and 
 all start drinking, Rita filling the glasses. Marcus ar- 
 rives and urges them on, all shouting that Merlyn is 
 sure to win the great prize this very day Bluts brings 
 
in several musicians and sings and a dance is proposed. 
 While they are all in the midst of gaiety Rabo enters 
 with his companions and, calling for drink, begins to 
 pick a quarrel. Rita orders them out. Rabo turns 
 upon her and tells her she was his too long to now ig- 
 nore him in this way. Rita and Merlyn tell him he 
 lies, but he goes on piling insults upon both and throws 
 a knife at Merlyn's feet, at the same moment borrowing 
 another from a friend. Rita tries to stop the fight, but 
 the others form a circle around the two men. At first 
 Rabo is wounded, but immediately after strikes Merlyn 
 full in the chest. He falls. Great confusion ensues 
 and soldiers enter and make a prisoner of Rabo. Just 
 then the crowd outside proclaim that Merlyn has won 
 the prize and Katelyne and Reinilde come to tell him 
 the glad news only to find him dying. While the 
 mother weeps by his side, Reinilde seizes one of the 
 knives on the floor and makes a mad rush at Rita. She 
 does not defend herself and the knife falls from Rein- 
 ilde's grasp as she exclaims that eternal remorse is 
 worse than death. She calls down vengeance both on 
 Marcus and Rita as the distant chimes play the air 
 that won the national prize for Merlyn. 
 
 This work was originally brought out on October 10, 1896, at 
 lhe Flemish Opera in Antwerp and was sung in that language. 
 Its success was such that a French version was made, and met 
 with equal approbation at the Paris Onera Comique. A popular 
 revival of the opera occurred at the Varieties Theatre in Paris 
 during the past summer. 
 
 16 
 
Dolores 
 
 Opera in Three Acts. 
 Words and Music by Breton. 
 
 
 THE CAST. 
 
 Lazzaro. 
 
 Celemino. 
 
 Melchiorrk. 
 
 Dolores. 
 
 Rojas. 
 
 Gaspara. 
 
 Patrizio. 
 
 
 ACT I. 
 
 The action takes place at Calatayud, a small town 
 in Spain, in front of Gaspara's inn. Patrizio, a rich 
 townsman, and Celemino, an inveterate gossip, talk 
 while sipping their wine, about the charming Dolores, 
 who is employed at the inn and whose beauty attracts 
 custom to it. Patrizio is in love with her, but Celemino 
 intimates that Melchiorre, the handsome barber, has 
 already won her heart.. Rojas, a boastful soldier, 
 comes along specially to capture Dolores' love, but she 
 and the others laugh at him. Lazzaro, a young Semin- 
 arist and godson of Gaspara, makes only a fugitive ap- 
 pearance but enough to show that he also is under the 
 influence of Dolores. As Patrizio is about to organize 
 a yota (a little festival of song and dance) in honor of 
 Dolores, Melchiorre enters and roughly orders them 
 away. They meekly submit, including the vainglori- 
 ous Rojas. Melchiorre then bluntly tells Dolores that 
 he rinds it to his advantage to get married. She is 
 amazed and reproaches him with his broken vows. He 
 laughs her to scorn and she threatens him with ven- 
 geance for a ruined life. He defies her and while vow- 
 ing mutual hatred they are interrupted by the yota, 
 where the guests improvise their songs. On Mel- 
 chiorre's turn he grossly insults Dolores and causes 
 general confusion Dolores is beside herself with hu 
 
 *7 
 
miliation and rage and exclaims that she will get her re- 
 venge. The yota resumes. 
 
 ACT II. 
 
 Courtyard of the inn. Lazzaro, alone, asks Heav- 
 en's help to overcome his guilty love for Dolores. Pa- 
 trizio enters loaded with presents for the girl, but Rojas 
 tells him it will do no good, for he himself is the favored 
 one. The bull fighters enter and Rojas volunteers to 
 be the toreador. They dissuade him but he insists 
 and tells them how he will polish it off. As they all 
 go to dine Melchiorre comes in and insists that Patrizio 
 and Rojas remain and listen to him. He tells then* 
 that he has been the lover of Dolores, but when he is 
 tired others can have her. Both are afraid to resent 
 what he says or to avow their feeling for the girl. He 
 tells them to go out and wait while he talks to Dolores. 
 When she comes he tells her that he repents, that he 
 still loves her and asks her to meet him that night. 
 She believes he conceals some treachery but agrees to 
 meet him at ten. He goes out and tells the two of his 
 appointment, and they come back accusing her. She 
 says Melchiorre lies. Patrizio wants a secret appoint- 
 ment and she makes one for ten that night and when 
 Rojas desires one she names the same hour. Each, 
 however, is faint-hearted, fearing to meet Melchiorre. 
 Lazzaro comes in after they are gone and, carried 
 away, avows his passion for Dolores. She sympa- 
 thizes with but discourages him, though she sees that 
 here would be a champion in need. As they are about 
 to part Lazzaro kisses her hand and Celemino, coming 
 in at the moment and seeing it, makes an outcry, call- 
 ing all the people in to see a priest making love. Laz- 
 zaro knocks him down and offers to repeat the perform- 
 ance with any other. But the bull fight is now an* 
 nounced and Rojas takes his place as toreador The 
 
 t8 
 
fight is now described by the people on the stage. Ro- 
 jas meets the bull, is promptly overthrown and would 
 be gored to death but for Lazzaro, who jumps in the 
 ring and tackles the bull and finally kills him. He 
 comes back amid the acclamations of the people, sup- 
 porting the wounded Rojas. As all rejoice Melchiorre 
 reminds Dolores of her appointment. She agrees, but 
 when Lazzaro approaches her she privately tells him to 
 come to her room at ten that night. Melchiorre gives 
 a toast to the toreador. Dolores heartily seconds it. 
 
 ACT III. 
 
 The scene shows Gaspara's room and that of Do- 
 lores behind it. Lazzaro is saying the rosary. During 
 it Celemino tells Dolores that he has been unable to 
 persuade Melchiorre not to come that night. After it 
 is over Gaspara informs Lazzaro that he must leave 
 for the seminary in the morning. She packs his trunk. 
 Celemino then warns Lazzaro against any love for Do- 
 lores, saying she is a soiled creature. Lazzaro tells 
 him to beware how he speaks of her, so Celemino goes 
 to tell Gaspara, who suspects nothing. Patrizio and 
 the others come in to invite Lazzaro to music and 
 wine, but he refuses. When all are gone, Gaspara, in- 
 censed by what Celemino has told him, turns on Do- 
 lores and orders her out of the house. Dolores ac- 
 knowledges that Lazzaro loves her, but she wants him 
 away to avoid a meeting with Melchiorre. Gaspara 
 therefore orders Lazzaro to go away that night and he 
 obeys, saying adieu to both. Alone, Dolores laments 
 the loss of him, when suddenly he jumps through the 
 window. He has returned to tell Dolores all his love, 
 but grows suspicious at her troubled air. She implores 
 him to leave, avowing she loves him, when the sound of 
 the patrol is heard approaching and then the voice of 
 Melchiorre with his insulting song. She still urges 
 
 19 
 
him to go but he has heard the words. He pretends 
 to leave, when Melchiorre enters, only again to over- 
 whelm Dolores with evil propositions. As she defends 
 herself Lazzaro appears and tells Melchiorre only one 
 of them shall leave the place alive. After a short in- 
 terchange of words they both enter the room, of Do- 
 lores and close the door, while she frantically calls for 
 help. Almost at once Lazzaro returns, saying Mel- 
 chiorre is dead.. As the people rush in wanting to 
 know what is the matter Dolores accuses herself of 
 Melchiorre's death, but Lazzaro says it is untrue. He 
 alone killed him because he had insulted this woman. 
 
 Dolores, though written in and for Italy, has had its principal 
 success in Spain and Portugal, where it is very popular. Mr. 
 Hammerstein heard it at Lisbon in 1905, and bought the American 
 rights to it at once. The work is quite modern. 
 
 .20 
 
Louise 
 
 Musical Romance in Four Acts. 
 Words and Music by Gustave Charpentier. 
 
 THE CAST. 
 
 JULIEN. 
 
 Father (of Louise). 
 
 Louise. 
 
 Her Mother. 
 
 Newspaper-Folder. 
 
 Coal-Gatherer. 
 
 Marguerite. 
 
 Madeleine. 
 
 Father of Fools. 
 
 A Ragman. 
 
 An Old Bohemian. 
 
 First Philosopher. 
 
 A Student. 
 
 First Policeman. 
 
 Second Policeman. 
 
 Second Philosopher. 
 
 Old-Clothes Man. 
 
 Irma. 
 
 Camille. 
 
 Gertrude. 
 
 Apprentice. 
 
 Street Arab. 
 
 Elise. 
 
 Blanche. 
 
 Suzanne. 
 
 Street- Sweeper. 
 
 Forewoman. 
 
 Young Ragpicker. 
 
 Milkwoman. 
 
 Scene — In the Paris of To-day. 
 
 ACT I. 
 
 Louise is at home, 
 alone. On the bal- 
 cony of the house 
 opposite, Julien, a 
 poet, stands telling 
 her of his love. He 
 has written to her 
 father asking for her 
 hand in marriage but 
 has been refused, so 
 what are they to do? 
 Louise tells him to 
 write again and if 
 there is another re- 
 fusal then As 
 
 they exchange confidences the mother comes in, over- 
 
 21 
 
 DALMORES 
 
hears in part and roughly pushes Louise back and 
 orders Julien away. She then reproaches Louise, who 
 defends Julien as the father comes in tired from his 
 work and calling for his supper. He has Julien's letter 
 in his hand. The three sit and eat. After supper the 
 women remove the things and the father reads the letter 
 and tells the mother what it is. She violently opposes the 
 idea and calls Julien unpleasant names. Louise resents 
 and the mother slaps her face. The father endeavors to 
 console Louise but the mother from the kitchen mocks 
 at them though the father is all kindness. He asks 
 Louise to read the paper to him and as she begins 
 about the pleasures of Paris she sobs and the curtain 
 falls. 
 
 ACT II. 
 
 FIRST SCENE. An open place on the way to 
 Montmartre, with nighthawks plying the last remnants 
 of their trade. People begin arriving for the day's 
 work, an early morning Paris scene. Julien and the 
 Bohemians come in and then leave Julien alone watch- 
 ing for the arrival of Louise. As the work girls be- 
 longing to her shop arrive, he hides. The mother 
 comes with Louise, suspicious of everybody. She tells 
 her daughter that hereafter she will have her work at 
 home. Louise enters and no sooner is the mother gone 
 than Julien rushes after the girl and drags her play- 
 fully out. He begs of her to ignore her cruel parents 
 and flee with him but she is obdurate. He reproaches 
 her with indifference, but she says that to leave thus 
 would be to kill her father, and she goes within, tearing 
 herself away from Julien. 
 
 SECOND SCENE. A dressmaker's atelier, full of 
 workgirls, Louise among them. The girls laugh, talk 
 and work at their trade discussing each other's love af- 
 fairs. A street band and a singer are heard outside. 
 
 22 
 
It is Julien accompanied by his friends. The girls are 
 all excitement and praise of the singer, but Louise 
 becomes very nervous. The singer goes on but begins 
 to bore the girls and they turn from terms of praise to 
 those of insult. Louise, all excitement, rises and say- 
 ing she feels ill, suddenly leaves the shop. The girls 
 are astonished but they burst into laughter when, from 
 the window, they see Louise going away with the 
 singer, who is Julien. 
 
 ACT III. 
 A small house on Montmartre, Paris below. Julien 
 and Louise are together and they have a long love 
 scene in which they justify themselves for what they 
 have done and glorify Paris, their common mother. 
 They retire to the little house and immediately after 
 men come on and decorate the balcony with lanterns. 
 Then the crowd arrive and call on Louise to appear. 
 They wish to crown her Muse of Montmartre and, 
 while the whole chorus sing, they go through a mock 
 ceremony amid exclamations of joy and a charivari of 
 nonsense. Suddenly a dismal note is struck. It is 
 the arrival of the mother and, as she approaches, silence 
 falls on everybody, the crowd melts away and Julien 
 and Louise are left alone to face her. She pleads with 
 Louise to return home because her father is sick and 
 dying. She alone can save him. If she will consent 
 she will have full liberty to go and come as she pleases. 
 Julien and Louise both hesitate a little, but at length 
 they agree. Louise follows the mother. Julien re- 
 mains alone. 
 
 ACT IV. 
 
 The same scene as the first act. The father is at 
 table, the mother in the kitchen and Louise in her room 
 sewing. The father sings his song of despair over the 
 sufferings of the poor and the ingratitude of children 
 
 23 
 
The mother calls on Louise to come and help her and 
 asks her if she has no pity for her father. Louise is 
 rebellious. She has been promised liberty and has 
 only been made a prisoner. She wants to see her 
 lover and the mother mocks her with the cry of Free 
 Love. Exasperated, Louise goes back to her room 
 with a cold good night to her father, but he catches her 
 in his arms and places her on his knee, speaking gently 
 to her. But these blandishments do not soften her and 
 she answers her father shortly. He speaks of happi- 
 ness, but she cannot be happy as a bird in a cage. The 
 promises made to her have been broken. But the free- 
 dom she wants, says the father, is to bring them all to 
 shame. Louise revolts at this and she then hears the 
 Voices of Paris. She exclaims that they are calling to 
 her. The father tries to stop her, but she works her- 
 self into a sort of frenzy. She calls on Julien and 
 rushes towards the door. The father bars the way. 
 She defies them both and the father in a paroxysm of 
 rage throws open the door and orders her from the 
 house. She flees. Repenting he follows her to the 
 stairs, then comes back and shaking his fist at the city 
 exclaims, "Oh, Paris !" and falls in his chair, broken in 
 heart and spirit. 
 
 Since its first production at the Opera Comique in Paris seven 
 years ago the success of Louise has shown no abatement. Its 
 author and composer has been content to rest on his laurels ever 
 since. But two new forthcoming works have now been an- 
 nounced from Gustave Charpentier's pen, disproving the fantastic 
 stories current that he was disqualified for further work. Mr. 
 Hammerstein has secured the exclusive option on all future work 
 by Charpentier. 
 
 24 
 
Pelleas and Melisande 
 
 Lyric Drama in Five Acts by Maurice Maeterlinck. 
 Music by Claude Debussy. 
 
 
 THE CAST. 
 
 GOLAUD. 
 
 Genevieve. 
 
 Pelleas. 
 
 Little Yniold. 
 
 Arkel. 
 
 A Physician. 
 
 Melisande. 
 
 
 ACT I. 
 
 SCENE I. Melisande 
 weeps by the side of a 
 fountain in the depth of 
 a dense forest. Golaud, 
 eldest grandson of King 
 Arkel, comes upon her 
 while out hunting-. In an- 
 swer to his inquiries she 
 will tell nothing about 
 herself. Golaud persuades 
 her to leave this lonely 
 place and go away with 
 him. 
 
 SCENE II. In the cas- 
 tle of old King Arkel 
 Madame Genevieve, who 
 is the mother of both 
 Golaud and Pelleas, tells 
 old King Arkel that Pel- 
 leas has received a letter from his brother in which he 
 says that he has married Melisande, though he knows no 
 more about her than the first day they met. He wants to 
 
 . 25 
 
 DUFRANNE. 
 
know if he will be welcome. If so, a light should be 
 placed on the highest tower at night. If it is not there he 
 will pass on. Pelleas is told to see to the light. 
 
 SCENE III. Melisande and Genevieve are in the gar- 
 dens at night and Melisande is astonished at how old and 
 dark everything is. Pelleas comes and shows the beacons 
 being lighted. They see a ship sailing away. It is the 
 one in which Melisande came. Pelleas says he is going 
 away. Melisande asks why. 
 
 ACT II. 
 
 SCENE I. Pelleas and Melisande talk together near 
 a fountain in the park. She sits on the edge of it and 
 bends over so that he is afraid she will fall in. She speaks 
 indifferently of Golaud and plays with her wedding ring, 
 throwing it high in the air. Pelleas warns her that it may 
 fall into the water. If so she will not be able to recover 
 it, the water is so deep. She utters a cry ! The ring has 
 fallen and disappears in the depths. Noon rang out as 
 the ring fell. What will they say to Golaud? The truth, 
 answers Pelleas. 
 
 SCENE II. Golaud lies shaken and bruised in his 
 apartments, and Melisande nurses him. He tells her that 
 he was hunting on horseback. Without warning, at the 
 stroke of twelve, his horse unaccountably ran away and 
 then fell on him. But his injuries will pass away. He is 
 strong. Melisande suddenly weeps. She is not well here 
 and wants to go away. It is so dark, so melancholy. 
 Golaud treats her whims as childish. Taking her hand he 
 notices the absence of the ring. Melisande confusedly 
 tells him that while gathering shells for little Yniold in 
 the grotto by the sea she had dropped it. He tells her to 
 go and find it at once, as' the tide may wash it away. What, 
 at night ? Yes, he tells her, and let her get Pelleas to help 
 her. 
 
 26 
 
SCENE III. Pelleas and Melisande are in the grotto 
 not to find the ring, which they know is not there, but so 
 as to be able to describe to Golaud the place where she 
 said she lost it. They see three blind men in the grotto. 
 This means misfortune, says Pelleas. 
 
 ACT III. 
 
 SCENE I. Melisande combs her hair at her window in 
 the tower. Pelleas comes and as Melisande leans out he 
 tells her how beautiful she is. He wants her to give him 
 her hand, as he is going away on the morrow. She makes 
 him promise not to go, to wait. As she bends over farther 
 her long hair suddenly falls and covers Pelleas, and he 
 holds it so firmly that she is in danger of falling. But she 
 hears a noise of footsteps and Pelleas releases her. Golaud 
 comes in and asks Pelleas what he is doing there and he 
 knows not what to answer. Golaud says they are a couple 
 of children and he goes out with Pelleas. 
 
 SCENE II. Golaud takes Pelleas to the vaults of the 
 castle and shows him the deep and dark cloaca there. 
 Pelleas is afraid and is glad to get away. 
 
 SCENE III. Pelleas breathes freely again the air of 
 the gardens. Golaud warns him to be less in the company 
 of Melisande. She may soon be a mother and must not 
 be subjected to excitement. Therefore avoid her, but 
 without affectation. 
 
 SCENE IV. Golaud enters with little Yniold and they 
 sit in the night under Melisande's window\ Golaud ques- 
 tions Yniold about the relations of Pelleas and Melisande. 
 He tells his father that they are often together. He has 
 only seen them kiss once, but they weep often. Golaud 
 hoists Yniold up to the window. He sees Pelleas in Meli- 
 sande's room. They do not speak, but look at one another. 
 They do not come near each other. Golaud hurts Yniold 
 and he screams to be let down. They go out 
 
 27 
 
ACT IV. 
 
 SCENE I. Pelleas meets Melisande in a passage of 
 the castle. They make an agreement to meet a last time 
 that night by the fountain. Pelleas is going away on the 
 morrow. They go out and King Arkel returns with 
 Melisande and speaks kindly to her. Golan d enters. He 
 pushes Melisande away roughly when she goes to him 
 and gibes her about her great innocence that Arkel speaks 
 of. Then he seizes her by the hair and drags her this way 
 and that and throws her to the ground violently. He ut- 
 ters veiled threats and leaves. 
 
 SCENE II. Pelleas waits by the fountain. Melisande 
 comes late and out of breath. Pelleas tells her he never 
 knew what beauty was until he saw her. She passively 
 accepts his homage and submits to his kisses. She hears 
 a noise, some one is behind them. He can see nobody. 
 Yes, yes, she says, it is Golaud. Pelleas also sees him 
 now and says that he has his sword. He tells Melisande 
 to flee, but she will not and catches Pelleas in her arms 
 and they kiss one another wildly. Golaud rushes upon 
 them and passes his sword through Pelleas, who falls. 
 Melisande flees terror stricken. Golaud pursues her. 
 
 ACT V. 
 
 Arkel, Golaud and the physician are in Melisande's 
 room. She is on the bed asleep. Golaud tells Arkel that 
 he repents what he has done. When Melisande awakens 
 she appears to have forgotten everything. She greets 
 Golaud pleasantly. He asks the other two to leave him 
 alone with her. Then he asks her to tell him if she loved 
 Pelleas and she answers that of course she did. Was it a 
 forbidden love? Had they been guilty? No, she says. 
 But his mind is full of torturing doubts, and he asks again 
 and again, only to get baffling answers. Arkel returning 
 with the physician tells Golaud that this torturing will kill 
 
 2$ 
 
her. Melisande is surprised to be shown her child, but 
 she is too weak to hold it. The servants come and range 
 themselves against the wall. Golaud orders them away, 
 but they do not obey him and all fall on their knees. The 
 physician, approaching the bed, says they are right. Go- 
 laud breaks down. Arkel orders everyone from the room. 
 
 No lyric work has been more discussed since its production at 
 the Opera Comique in Paris four years ago. Popularly speaking, 
 it was at first a quasi failure, but appreciation of its qualities has 
 rapidly grown, Maurice Maeterlinck, the author and Claude De- 
 bussy, the composer, early quarreled over minor points of the 
 production, since which Maeterlinck has taken no further interest 
 in it. He was further displeased because his wife was not given 
 the part of Melisande. 
 
 29 
 
La Fille du Regiment 
 
 Opera in Two Acts. 
 Music by Donizetti. 
 
 
 THE CAST. 
 
 Ton io. 
 
 Sulpice. 
 
 Ortensius. 
 
 Corporal. 
 
 Marie. 
 
 The Marchioness. 
 
 In the Tyrol During the Napoleonic Invasion. 
 
 ACT I. 
 
 Marie is a vivandiere in the French army. She has 
 been found when a baby lying near a battlefield, by Sul- 
 pice of the Twentieth Foot, and has been adopted and 
 brought up by the regiment. Sulpice has treasured a paper 
 he found pinned to the clothes of the child. 
 
 This is told in the first scene between Marie and Sul- 
 pice, and she speaks of her affection for all her fathers of 
 the regiment, but she also lets out that she has conceived 
 a particular regard for a young Swiss by name Tonio. As 
 she says this the corporal brings in a young fellow whom 
 he has arrested as a spy. It turns out to be Tonio who 
 has been trying to get near Marie. She recognizes and 
 defends him as the one who saved her life when she was 
 falling from a precipice. They then greet him pleasantly, 
 and as they go to roll call Tonio remains behind with 
 Marie and they have their love scene. After they are 
 gone Sulpice enters with the Marchioness, to whom he 
 has shown the paper he has found on Marie. It fixes 
 the fact that she is Marie's mother, but for reasons she 
 only wishes to appear as her aunt. It is apparent, how- 
 ever, that she must take the girl at once from these sur- 
 roundings, and the remainder of the act is taken up with 
 Marie's departure and the sorrow of the regiment, inclu- 
 ding Tonio, who has enlisted to be near Marie. 
 
 30 
 
ACT II. 
 
 Mane is at the castle of Birkenfels surrounded with 
 all sorts of professors. She can support this if she can 
 only have Tonio, too, but the Marchioness intends her for 
 something higher. Sulpice is here, too, wounded, and the 
 Marchioness is greatly annoyed at their memories of the 
 regiment days. When she is gone Tonio arrives with 
 some men of the regiment. The Marchioness returns and 
 finds that Tonio is still in love with Marie, but she rejects 
 his suit as before, even though he is now an officer, saying 
 that Marie's hand is to be given to the son of a duchess. 
 Tonio and Marie agree, in view of this, to elope. But the 
 Marchioness begs the aid of Sulpice to thwart this de- 
 sign, and Marie is about to consent to sign the hateful 
 contract of marriage when the regiment led by Tonio in- 
 vades the chateau to rescue her. At first the Marchioness 
 resists his prayers, but soon gives way to Marie's en- 
 treaties, and obeying her mother's instinct, decides in 
 favor of her daughter's happiness. 
 
 First brought out at the Opera Comique, Paris, on April 10. 
 1840. 
 
 31 
 
Linda di Chamounix 
 
 Opera in Three Acts, 
 
 Taken from "La Grace de Dieu" by Adolphe Dennery. 
 
 Music by Donizetti. 
 
 THE CAST. 
 
 Marquis de Boisfleury. Pierrotto. 
 
 vlcomte de slrval. the intendant. 
 
 Antonio. Linda. 
 
 The Prefect. Maddalena. 
 
 Period 1760 at Chamounix and in Paris. 
 
 ACT I. 
 
 Linda is the daughter of Antonio and Maddalena, 
 who are much disturbed at the prospect of being de- 
 prived of their farm. But Antonio tells his wife that 
 the Intendant has just informed him that the Marquis 
 has directed that a new lease shall be made out. The 
 Marquis arrives apparently to confirm this, but really 
 to see Linda, on whom he has designs of his own. The 
 Marquis departs without gratifying his wish and Linch 
 enters. She is here to meet Charles, whom she loves 
 and believes to be an artist, but who is really the Vis- 
 count de Sirval. When he arrives he pledges his love 
 to Linda, but tells her that there are reasons why he 
 cannot yet marry her. After they go the Prefect 
 comes in with Antonio and informs him the lease is 
 but a subterfuge of the Marquis to get possession of 
 Linda and ruin her. He advises the despairing father 
 to send her away to Paris at once to a brother of his. 
 She can go with the band of Savoyard boys now form- 
 ing. Antonio confides Linda to her faithful young friend, 
 Pierrotto, and the curtain falls on the departure. 
 
 ACT II. 
 
 Linda is installed in handsome rooms in Paris by the 
 
 32 
 
Viscount, who discovered her singing in the streets, 
 owing to the death of the Prefect's brother, to whom 
 she was sent. Pierrotto had also disappeared, but she 
 discovers him from her window and, as the act opens, 
 she calls him in and tells him of her coming marriage 
 to the Viscount. This is followed by a visit from the 
 Marquis, who has discovered her abode and who still 
 pursues her with his obnoxious attentions and who 
 offers her a palace and wealth if she will but go to 
 him. He laughs at the idea that the Viscount intends 
 to marry Linda. She at last in great indignation or- 
 ders him out. He is no sooner gone than the Viscount 
 enters. He comes to tell Linda that his mother, the 
 Marchioness, insists on his marrying one of his own 
 station, an odious marriage to him, but as Linda greets 
 him fondly he has not the heart to tell her and leaves 
 her still vowing his love. Immediately after a poor 
 man comes to ask help of the Viscount. In him Linda 
 is amazed to recognize her father and gives him money. 
 But as soon as Antonio recognizes Linda he jumps 
 very naturally to the conclusion that this money and 
 her style of living mean a life of shame, and proceeds 
 to berate her and would curse her as well but that Pier- 
 rotto interferes and saves her. But the ordeal has cost 
 her her reason and Pierrotto induces her to follow him 
 away from all this trouble. 
 
 ACT III. 
 
 The Savoyards are returning and the Prefect meets 
 the Viscount, who comes looking for Linda. The Pre- 
 fect tells him that her father had disowned her by rea- 
 son of her shameless life. The Viscount answers him that 
 no purer woman lives and that his mother has at length 
 consented that he shall marry her. They depart to get 
 some tidings when Pierrotto is seen descending the 
 
 33 
 
hill, leading Linda. The Viscount returns and ex- 
 plains to Antonio that he had acted an honorable part, 
 hands him the deeds of the land and then, by endearing 
 words, succeeds in restoring her scattered senses and 
 gains her glad promise to be his wife. 
 
 This work was produced by the composer at the Imperial 
 Opera House, Vienna, in 1842. Its success was so great that 
 Donizetti was appointed Court Composer in consequence. 
 
 34 
 
Lucia dl Lammermoor 
 
 Adapted from Walter Scotfs Novel. 
 Music by Donizetti. 
 
 PERSONAGES. 
 Henry Ashton, of Lammermoor. Lord Arthur Bucklavv. 
 Edgar, of Ravens wood. Lucy. 
 
 Norman, Soldier. Alice, her attendant. 
 
 Raymond, Chaplain. 
 
 ACT I. 
 
 Lucy of Lammer- 
 moor has refused to 
 accept Lord Arthur as 
 her suitor in spite 
 of the urging of her 
 brother, Henry Ashton, 
 who hopes by this 
 union ' to rehabilitate 
 himself with the party 
 loyal to the reigning 
 king. In the opening 
 scene Norman tells 
 Ashton that Lucy loves 
 Edgar of Ravenswood, 
 an outlaw, and Ashton's worst enemy. The latter, infuri- 
 ated, orders Norman and his men to pursue Edgar and use 
 every effort to capture him, and on their departure the 
 curtain falls. 
 
 In the second scene of this act Lucy makes her en- 
 trance in a forest glade accompanied by Alice. She 
 awaits Edgar and fears that his absence presages some 
 evil. She laments her solitude and the spectral sur- 
 roundings as Edgar comes only to tell her that on the 
 morrow he must depart on an important mission to. 
 
 35 
 
 TETRAZZINl. 
 
France. Before going he will see Ashton and ask for 
 Lucy's hand. Lucy implores him to take no such step, 
 as Ashton's hatred is such that he would but sacrifice 
 his life by going to his stronghold. Enough that he 
 has her love which, for the present, must remain secret. 
 Edgar consents on the condition that she vow to him 
 eternal love and that nothing shall ever part them. 
 They then make solemn vows to love one another al- 
 ways, and while Edgar is away to write often. Edgar 
 places a ring on Lucy's finger as a remembrance and a 
 pledge, and they part in a transport of passion. 
 
 ACT II. 
 
 The first scene shows Ashton planning the marriage 
 of Lucy to Lord Arthur. The wedding guests are as- 
 sembled, though Lucy has not given her consent. Ash- 
 ton and Norman have in the meantime intercepted 
 Edgar's letters, so that she believes herself forgotten. 
 Lucy enters in despair, and Ashton tells her the time 
 has come when she must marry. Lucy says she loves 
 another, and Ashton hands her a forged letter purport- 
 ing to come from Edgar, in which the latter repudiates 
 his promises. While Lucy, heartbroken at this turn 
 of fortune, wishes to die, Ashton urges her to marry 
 Lord Arthur, adding that if she refuses their family 
 will be ruined and he die on the scaffold. Arthur's 
 great influence alone can save him. Lucy still attempts 
 to resist, but her brother's dominant influence prevails, 
 especially when Raymond, the Chaplain, adds his 
 prayers and advice to Ashton's. 
 
 The next scene shows the great hall of the Castle. 
 All the guests are here and Ashton introduces Arthur 
 to them. Then enters Lucy in a state of great dejec- 
 tion. Ashton begs her not to quail at the ordeal and 
 prevails on her to passively sign the hated contract. 
 At this moment Edgar appears, to the consternation of 
 
 36 
 
all, and especially Lucy. He demands his promised 
 wife, and Ashton shows him the marriage contract 
 signed by Lucy and causes her to say it is true. Edgar 
 turns on her and loads her with reproaches. She begs 
 for mercy, but he defies them all, and the act ends in 
 his violent departure. 
 
 ACT III. 
 
 The guests are still celebrating the nuptials of Lucy 
 and Lord Arthur when Raymond enters to tell them to 
 cease. A terrible event has occurred. He had heard a 
 shriek from the nuptial room when, forcing his way 
 within, he had found the bridegroom bathed in blood 
 and Lucy brandishing a sword over him and laughing 
 dreadfully. As he speaks Lucy enters, and what is 
 known as the Mad Scene ensues. Lucy, alternately 
 laughing and weeping, sings of her lost Edgar, while 
 the guests look on sympathizing, but helpless. 
 
 In some performances the opera ends here, but 
 whenever a tenor of prominence sings Edgar the last 
 scene is given. Edgar is alone in a cemetery bewailing 
 his fate and speaking of death. The toll of a bell is 
 heard, when Raymond comes in to say that it signifies 
 the passing of Lucy's soul. Overwrought by this final 
 blow, Edgar draws his sword and dies by his own 
 hand. 
 
 Lucia easily takes precedence of any of Donizetti's operas 
 in public esteem, though three others remain in the repertoire. 
 It was first brought out at the San Carlo in Naples in 1835, and 
 obtained an instant success, which it has maintained ever since, 
 hackneyed though it may be. Its melodies have withstood all 
 changes of taste. 
 
 37 
 
Andrea Chenier 
 
 Historic Drama in Four Scenes. 
 
 Book by Luigi Mica. 
 
 Music by Umberto Giordano. 
 
 THE CAST. 
 
 Andrea Chenier. Madeleine de Coigny. 
 
 Charles Gerard. The mulatto, Bersi. 
 
 Roucher. Countess de Coigny. 
 
 Fleville. Madelon. 
 
 Fouquier-Tinville. The Abbe. 
 
 The sans culotte Matthieu. Schmidt. 
 
 A Dandy. Dumas. 
 
 ACT I. 
 
 At the chateau of the Coignys. The Countess causes 
 preparations to be made for a host of visitors. Gerard, a 
 servant, curses the aristocrats and predicts that their fate 
 is near. He points to his decrepit old father, the garde- 
 ner, as an example of serfdom. The Countess Madeleine 
 and Bersi enter, and soon after the guests, among them 
 Fleville, the romancer, Chenier, the poet, and the abbe. 
 Conversation ensues about the general unrest among the 
 people, but they treat it lightly. Madeleine, in a spirit of 
 banter, wants Chenier to poetize off-hand and he excuses 
 himself, but she persists and wagers if he does improvise 
 it will be of love. Chenier replies that it is not a word 
 to joke about,, for the word includes love of country and 
 love for the poor, the oppressed and the afflicted. These 
 revolutionary sentiments scandalize the distinguished com- 
 pany and impress Madeleine, who now takes a more 
 serious interest in Chenier. Gerard introduces a crowd 
 of poor people. The Countess is furious. Gerard takes 
 off his livery and leaves the chateau. Dancing now 
 begins. 
 
 ACT II. 
 
 The Place de la Revolution. In the foreground an 
 altar erected to Marat. The Terror is now in full blast. 
 
 38 
 
Matthieu, the former gardener, and a dandy, who is a spy 
 of Robespierre's, are here, and Bersi, the mulatto woman, 
 comes furtively to ask for news and pretends a reckless 
 abandon. The cart of the guillotine is seen to pass. 
 Chenier, already on the list of suspects and watched by 
 the dandy, comes on with his friend Roucher, who advises 
 him to fly at once. But Chenier has received a note in a 
 female hand, making an appointment here. Roucher tells 
 him to pay no attention to it, probably from some woman 
 of the town. But Chenier is firm until, at last convinced, 
 he tears up the letter and takes the passport. Gerard 
 enters. He has told the spy to seek for a certain fair, 
 blue-eyed girl. He seeks Madeleine, whom he loves and 
 of whom he has lost trace. A crowd of women invades 
 the .scene, among them Bersi, who tells Chenier that a 
 woman whom a great peril threatens would meet him and, 
 after some changes of guard take place, Madeleine comes 
 on and they meet. The spy runs to tell Gerard. The 
 girl informs Chenier of her perils and poverty. She 
 hasn't any one to rely on except Bersi, and therefore she 
 comes to him. Chenier tells her she may well count on 
 him, for he loves her. She, too, has found in him what 
 love is, and both vow that until death they will be to- 
 gether. They are interrupted by Gerard, who rushes in 
 to claim Madeleine. Chenier brushes him aside and con- 
 fides her to Roucher, and then they fight. Gerard falls 
 wounded, but advises Chenier to fly, for he is on the list 
 of the accused. Nor will he tell Matthieu and others 
 who has wounded him. They want a victim. 
 
 ACT III. 
 
 The scene is the Revolutionary Tribunal. Matthieu 
 asks for private contributions to the country's needs. 
 Gerard comes in and is more successful. The women 
 even give their jewels. An old woman gives her last 
 grandson to the cause. Gerard then begins to write out 
 
 39 
 
the accusations. Newsboys are heard shouting the ar- 
 rest of Andrea Chenier. The spy tells Gerard that the 
 girl will soon turn up, now the man is caught. He 
 urges Gerard to hasten the accusation against Chenier. 
 Gerard hesitates a long time, but finally signs it and 
 gives it to the clerk. Madeleine suddenly comes and 
 Gerard shows a savage satisfaction and tells her that 
 he has loved her long and now will possess her. She 
 answers that she will go out and unmask him before 
 all. He prevents it, and then she tells him that if she 
 is to be the price of Chenier's liberty, then take her, 
 she loves him enough even for that. This causes a 
 revulsion in Gerard and he regrets having denounced 
 Chenier. The crowd now rushes in and the prosecutor, 
 Fouquier-Tinville, and the Judge, Dumas, take their 
 places. Gerard wants to withdraw his charges against 
 Chenier, but the mob howls and the prosecutor fathers 
 them himself. Chenier, in his defense, makes a moving 
 plea, and Gerard speaks strongly for him, but the mob 
 demands blood and he is condemned. Madeleine utters 
 an agonizing cry as Death is pronounced. 
 
 ACT IV. 
 
 The courtyard of the St. Lazare prison. Roucher is 
 with Chenier and gives Schmidt, the jailer, money to 
 stay longer. Chenier says he has no fear of death, and 
 goes to his cell. Gerard brings in Madeleine, who 
 bribes Schmidt to substitute her for one of the con- 
 demned women, a mother, to whom she sends her pass. 
 Gerard, as he hears Chenier coming in again, leaves, 
 saying he will go and plead to Robespierre. The lovers 
 are alone and happy. Madeleine tells Chenier what 
 she has done ; she wants to die with him. He cannot 
 change her, and, both of them vowing undying love, 
 answer "Ready !" when the names are called by the 
 executioner. 
 
 40 
 
Siberia 
 
 Grand Opera in Three Acts. 
 
 Book by Luigi Illica. 
 Music by Umberto Giordano. 
 
 THE CAST. 
 
 Vassily. Ivan. 
 
 Gleby. The Banker Miskinsky. 
 
 Walitzin. Stephana. 
 
 Alexis. Nikona. 
 
 ACT I. 
 
 In the apartments of Stephana at St. Petersburg, Ivan 
 and Nikona await at break of day the return of Stephana. 
 Gleby comes to see Stephana. They conceal from him 
 that she is out. But he pushes his way into her room and 
 is greatly excited to find her not there when Prince Alexis 
 enters with his friends. Gleby tells him that Stephana 
 still sleeps. They start a serenade in her honor, and then 
 go to another room to await her. Stephana at this mo- 
 ment slips in through the garden gate. Gleby wants to 
 know why she is not furthering their projects. She an- 
 swers that it is because she is sick of it all, because at 
 last she is truly in love. Alexis returns and tells Stephana 
 of his love and returns to his friends after presenting her 
 with a bracelet. Ivan then announces a young officer, 
 Vassili, and Nikona recognizes in him one she loved as a 
 son. He tells her that he goes to the war this day and 
 comes to say good-bye. As he is going Stephana enters 
 and Vassili sees in her the woman he loves and whom he 
 supposed a poor girl. Stephana is also astounded at his 
 presence here. She thinks he has followed her, but 
 Nikona reassures her. Then she tells Vassili 'twere bet- 
 ter for him to go, for honor, for glory's sake. But Vassili 
 tells her his love is stronger than all. Just then Alexis 
 enters and insults Stephana. Vassili resents it. Alexis 
 
 4i 
 
draws his sword, attacks Vassili, the latter defends him- 
 self, and in doing so pierces Alexis, who falls. 
 
 ACT II. 
 
 At the Poloo station on Starvation Steppe, a mere 
 guard house in a desolate country. The soldiers await 
 the arrival of a column of prisoners. Peddlers and peas- 
 ants come in to sell their wares. A girl with her baby 
 brother comes to meet her father, a prisoner. Then a low 
 wailing song is heard in the distance. There is imme- 
 diate movement in the Poloo-tappa. Officers and sol- 
 diers busy themselves. The lament and song come nearer 
 and the "Chain" arrive. Crushed with fatigue the pris- 
 oners throw themselves on the ground. The sound of a 
 troika is heard and Stephana steps from it. She asl*s for 
 prisoner 107 and shows a pass. She calls for Vassili. 
 and he rises from the huddle of prisoners. Stephana 
 tells him she has given all her ill-got riches to the poor 
 and has come to join him. He would dissuade her from 
 the horrible life, but she is firm. Love redeems all, she 
 (Ties. The order is given to move and the living Chain 
 forms once more, taking up the wailing song. Vassili and 
 Stephana silently join the procession. 
 
 ACT III. 
 
 The Trans-Baikal mines. Interior of the prison. It is 
 Holy Saturday. A cripple wants some old clothes to 
 make a flag with. He is told to go to 107. He makes the 
 request there, and Stephana brings out a basket of old 
 clothes. While going through it the cripple asks Stephana 
 if she wishes to escape that night by the dry well. 
 Stephana and Vassili debate the project. In a group of 
 convicts comes forth Gleby. He recognizes Stephana, 
 who goes to draw water, while Vassili is harnessed to 98 
 and leaves for work. As Stephana returns Walitzen, the 
 Governor, an old friend, speaks to her and tells her if 
 she still has dreams of liberty and comfort to remember 
 
 42 
 
him. All her life is here, she answers, and her love. 
 Gleby returns with Vassili and asks Stephana to give him 
 an Easter dinner. They treat him with contempt and 
 Gleby sardonically tells Vassili and the convicts the story 
 of Stephana's life. Vassili is horrified and torn with 
 shame and despair, but Stephana at first angry and then 
 pitiful justifies herself. Gleby was the man who sold 
 her and reaped the gold. As Gleby returnes she shows 
 the executioner's mark on him. But this decides 
 Stephana to escape, and they concert plans with the crip- 
 ple. Unfortunately Gleby has got wind of the project 
 and takes care to inform the sentinel on guard. As they 
 run for the dry well, therefore, a volley of musketry is 
 heard, and soon after Stephana is brought in wounded. 
 Walitzin endeavors to save her, but to no purpose, and 
 with words of loving tenderness she dies in Vassili's arms. 
 
 The third of Giordano's serious operas, the other two having 
 been Andrea Chenier and Fedora. Giordano came into notice as 
 a competitor for the Sonzoni prize, which produced Cavalleria 
 Rusticana, with an opera called Marina which possessed only fair 
 merit. 
 
 43 
 
Faust 
 
 Grand Opera in Five Acts. 
 
 Book by Barbier and Carre, from Goethe's Poem 
 
 Music by Charles Gounod. 
 
 THE CAST. 
 
 Marguerite. 
 
 Siebel. 
 
 Martha. 
 
 Faust. 
 
 Mephistopheles. 
 Valentin. 
 Brander, 
 
 ACT I 
 
 Faust, an old man, 
 alone in his study, 
 speaks despairingly of 
 life and knowledge. 
 Heaven will give him 
 nothing but death — the 
 devil, perhaps, will give 
 him life. He calls, Me- 
 phistopheles appears, 
 and offers Faust riches, 
 power, a kingdom. 
 Faust wants none of 
 these, but youth only. 
 Faust signs the bond 
 and is transformed into 
 a young man. A vision 
 of Marguerite is seen 
 and Faust goes in 
 search of her, accom- 
 ARIMONDL panied by Mephisto. 
 
 ACT II. 
 
 The scene changes to the Kermesse. Students, sol- 
 
 44 
 
diers and citizens are about. Valentin is going to the 
 war, but dislikes leaving his sister, Marguerite. Siebel, 
 a boy, promises to be always near her to protect her. 
 Mephisto enters and offends Valentin by speaking 
 lightly of Marguerite. He then proves his sorcery by 
 drawing wine from an empty cask. All then show the 
 crosses on their swords, and Mephisto is discomfited. 
 Faust enters and meets Marguerite in the market place, 
 but she rejects his advances. He is cast down, but 
 Mephisto promises him better luck next time. 
 
 ACT III. 
 
 Siebel comes to leave flowers on Marguerite's door- 
 step and exits as Faust comes into the garden. Me- 
 phisto urges him to make hot love and not to be faint 
 hearted, and he himself goes to get the jewel casket, 
 which he presently places beside Siebel's flowers. Both 
 then retire, and Marguerite comes in bewailing her 
 brother's absence. Then she wonders who was the 
 handsome lord she met in the market-place. She sees 
 the casket, opens it and the beauty of the gems capti- 
 vates her fancy. She will not keep them though. 
 Martha, her companion, tells her she is foolish, and 
 Mephisto approves the sentiment, while praising Mar- 
 tha's buxom charms. He thus gets her out of the way 
 to leave a fair field for Faust, who soon conquers the 
 girl's heart, so that at the end of the act in a burst of 
 passion she confesses herself his. 
 
 ACT IV. 
 
 The victorious soldiers are back from the war, and 
 Valentin is full of joy at seeing his sister again. But 
 he soon learns of her betrayal. In front of his house 
 Mephisto sings a satirical serenade that brings Val- 
 entin out in a fury. Mephisto urges him on until Faust 
 and he are fighting, and, with Mephisto's treacherous 
 
 45 
 
help, Faust delivers a death blow, The two escape as 
 Valentin falls. The people troop on and Marguerite 
 rushes to her brothers side. He curses her with his 
 dying breath. 
 
 The second scene of this act shows Marguerite at the 
 Cathedral trying to pray. The voice of Mephisto tells 
 her that she is irrevocably lost. She is bowed in de- 
 spair. 
 
 ACT V. 
 
 The prison. Marguerite sleeps in the straw. She, in 
 a fit of madness, has slain her child. Faust enters to 
 get her away secretly, and as she awakes she is at first 
 overjoyed at meeting him. But the sight of Mephisto 
 fills her with dread and repulsion. She refuses to fly. 
 Faust urges and almost carries her away. But she 
 resists him and prays to heaven for deliverance from 
 earthly trouble. In vain does Faust urge that it will 
 soon be too late. Mephisto advises flight without her, 
 but Faust is loyal to his stricken one and will not leave 
 her. In the midst of the struggle, in a burst of exalta- 
 tion, she dies, and angels come down to take her to 
 heaven. 
 
 Faust is, of course, recognized as Gounod's greatest achieve- 
 ment in opera work. It has obtained world-wide and lasting 
 popularity. Originally produced in 1859, as an opera comique, 
 at the Theatre Lyrique (a subventioned house), in Paris, it met 
 with only moderate success. Mr. Gye, manager of Covent Gar- 
 den, London, commissioned Gounod to turn it into a grand opera, 
 which he did by making recitatives of the spoken dialogue and 
 adding several melodies to the score. From that time the opera 
 became a triumph. Madame Miolan Carvalho, wife of the 
 Lyrique's manager, was the original Marguerite and M. Balanquet 
 the first Mephistopheles. 
 
 46 
 
/ Pagliacci 
 
 (The Clowns.) 
 
 Opera Drama in Two Acts. 
 Words and Music by R. Leoncavallo. 
 
 
 PERSONAGES, 
 
 Nedda. 
 
 Beppe. 
 
 Canio 
 
 Silvio. 
 
 Tonic, 
 
 
 in 
 get 
 
 ACT I. 
 
 The scene is in a Ca- 
 labrian village. On the 
 right, a traveling thea- 
 tre, curtains drawn. Ca- 
 nio and Nedda traverse 
 the crowd of villagers 
 a donkey cart and 
 out. Canio tells 
 them about the fine 
 play they'll see. Then 
 he goes off to the vil- 
 lage inn leaving Nedda, 
 his wife, alone. The 
 church bells call to 
 worship, and the people 
 troop off. Tonio, a de- 
 formed member of the 
 troupe, approaches 
 Nedda and tells her 
 that despite his shape his heart beats wildly for her. 
 She bursts out laughing, and when he persists and 
 wants to kiss her she seizes a whip and slashes him 
 across the face Enraged he goes off vowing vengeance 
 
 47 
 
 SAMMARCO 
 
Then Silvio, a villager, appears, and despite Nedda' s 
 protest that it is imprudent to be here, tells her of his 
 love and urges her to go away with him. At first she 
 refuses, though she acknowledges her love also, and 
 Tonio, who has come on from the rear, overhears them 
 and rushes away. Silvio goes on pressing his suit, and 
 at last gets a promise from her to escape with him that 
 night. As they seal the bargain with a kiss Canio sud- 
 denly comes on, led by Tonio, and hears the engage- 
 ment made. Canio makes a rush after Silvio, who is 
 warned by a quick cry from Nedda. Tonio laughs at 
 Nedda's plight. He makes her sick with horror by his 
 gibes. Canio returns, having failed to catch Silvio. 
 He turns his wrath on Nedda, whom, in a frenzy, he 
 tries to kill, but Beppe runs to Canio and snatches the 
 dagger from him while Tonio holds him. Then Beppe 
 leads Nedda within while Canio breaks dowft in a par- 
 oxysm of grief. 
 
 ACT II. 
 
 The same scene as Act I. Tonio beats the drum on 
 side of theatre, and the people troop in to see the show. 
 There is much confusion in selecting seats, and some 
 disputing. Silvio enters and takes his place, and back 
 in the audience when Nedda comes around collecting 
 money, he reminds her not to fail in the appointment 
 for that night. She cautions him to beware. The play 
 then begins. Nedda, as Columbine, has sent away her 
 husband, the Clown (Canio), in the hope of meeting 
 the Harlequin (Beppe) alone, but the Pantaloon 
 (Tonio) comes instead and makes foolish love to Col- 
 umbine. He brings a chicken as a peace offering. She 
 takes the chicken, but sends Pantaloon about his busi- 
 ness as soon as she hears the voice of Harlequin, who 
 climbs in through a window. The two sit down to sup- 
 per and act a love scene, when Pantaloon rushes in to 
 
 48 
 
say that Clown is returning unexpectedly. Harlequin 
 promptly jumps out of the window and Columbine bids 
 him a fond farewell just as Clown comes on and de- 
 mands to know who has been there. Columbine pre- 
 tends innocence. Canio forgets the play and loads her 
 with reproaches, but Nedda -tries to continue to per- 
 form her part. The spectators are puzzled and cease 
 to laugh. The women exclaim that he is making them 
 cry when he speaks of his wrongs and upbraids her as 
 an abandoned creature whom he'll crush under his heel. 
 He demands to know the name of her lover. Nedda 
 •>avs she may be faithless but cowardly never. Canio 
 snatches a knife from the table and in a towering rage 
 s izes her and stabs her. Amid the confused cries Sil- 
 vio draws his dagger and rushes forward just as the 
 dying Xedda calls out his name for help. Suddenly en 
 lightened Canio plunges his knife in Silvio's breast. He 
 is immediately surrounded and held. He stands stupe 
 fied and quietly says "The comedy is ended!" 
 
 The only opera by which Leoncavallo is known here, and un- 
 doubtedly his best example. The composer also wrote the librett< . 
 and it is interesting to know that the story is based on fac < 
 within the purview of the author, the tragedy taking place in his 
 own village, a servant of his father's being the unfortunate lover, 
 Silvio, of the play. Canio was imprisoned for a time for his 
 double, but partly justifiable, crime and was then set free. I 
 Pagliacci was produced for the first time at the Dal Verme, Milan, 
 in t8q2. Its success was immediate. 
 
 49 
 
Cavalleria Rusticana 
 
 Melodrama in One Act. 
 
 Libretto by G. T ar geoni-T ozzetti and G. Menasci. 
 
 Mtcsic by Pietro Mascagni. 
 
 
 THE CAST. 
 
 Santuzza. 
 
 TURIDDU 
 
 Lola. 
 
 Alfio. 
 
 Lucia, 
 
 
 Turiddu, behind the curtain, sings of Lola's loveli- 
 ness. Then the peasants and townspeople fill the 
 scene. Santuzza enters furtively and asks Lucia where 
 her son Turiddu is. Lucia answers curtly that she 
 wants no trouble. Santuzza tells her that though sup- 
 posedly aw r ay, he has been seen near the village. Alfio 
 enters merrily singing of his horses. When he wants 
 wine Lucia informs him that Turiddu has gone away to 
 fetch it, at which he expresses surprise, as he had seen 
 him near his (Alfio's) house. ■ Santuzza makes signs to 
 Lucia and when Alfio goes Lucia wants to know why. 
 Santuzza then tells her that before Turiddu had gone 
 to become a soldier he had pledged his love to Lola, but 
 when he returned he had found her married to Alfio. 
 His heart had then gone to her — Santuzza — and she 
 had loved him in return, seeing which Lola had exerted 
 every art of coquetry to win him back. Lucia goes to 
 pray that no evil may come of it. Turiddu enters and 
 is scornful of Santuzza, who pleads with him for a re- 
 turn of his love. He denies that he cares for Lola, 
 though he is furious at Santuzza's senseless jealousy. 
 Lola's voice is heard, and when she enters she plays 
 with Turiddu, but sends several venomous shafts at 
 Santuzza, who succeeds in restraining him when he 
 would follow Lola. But when the latter goes into the 
 church Turiddu turns on Santuzza furiously and r while 
 
 So 
 
she pleads to him for his lost love and her lost honor, 
 throws her roughly down and follows Lola into the 
 church. Alfio comes on, and Santuzza, in her rage, 
 tells him of his wife and Turiddu. Alfio is amazed and 
 then doubts. Santuzza swears she speaks the truth. 
 Alfio vows he'll have their blood. 
 
 Intermezzo. 
 
 All leave the church. Turiddu asks Lola to join his 
 company in a merry goblet, and they are drinking 
 when Alfio enters. He refuses Turiddu's invitation. 
 Lola gets away as Alfio and Turiddu challenge each 
 other. While embracing, Turiddu bites Alfio' s ear — it 
 is to the death. As Turiddu goes he asks his mother's 
 blessing and utters a word of remorse about Santuzza, 
 then rushes out. 
 
 In a moment the crowd rushes back crying that Tu- 
 riddu has been killed. 
 
 Cavalleria Rusticana made a genuine sensation when it was 
 first produced in 1890 at the Constanza in Rome and became in 
 immediate demand in every part of the musical world. The 
 opera was the result of a competition instituted by Sonsogno, the 
 Milan publishing house, and gained the first prize of five thousand 
 francs. It made the name of Mascagni famous, a fame the 
 composer has since done little to enhance, though he has written 
 much. Cavalleria Rusticana was first produced in New York 
 a few weeks after its premiere in Italy, by Oscar Hammerstein 
 at the Murray Hill Lyceum and by Rudolph Aronson at the 
 Casino, both on the same day. 
 
 5* 
 
Griselidis 
 
 Lyric Story from a Mystery Play at the Comedie 
 
 Francaise. 
 
 By Armand S lives tre and Eugene M or and. 
 
 Music by Jules Massenet. 
 
 THE CAST. 
 
 The Marquis de Saluces. Gondeband. 
 
 The Devil. Griselidis. 
 
 Alain. Fiamina. 
 
 The Prior. Bertrade. 
 
 PROLOGUE. 
 
 A forest in Provence. 
 Alain, alone, is watch- 
 ing for Griselidis, who 
 comes not, as enter the 
 Prior and Gondeband 
 who, awaiting the 
 Marquis on his return 
 from the hunt, lament 
 that he has never met 
 the woman he would 
 take to wife. Alain 
 tells them it is that he 
 has never seen Grise- 
 lidis, the most exquis- 
 ite woman on all the 
 earth. The Marquis 
 enters, his eyes fixed 
 on an image that grad- 
 
 uallv is seen to emerge 
 CAMPANINI. from the forest As 
 
 it comes nearer the 
 Marquis falls on his knees, as do all his men, and in a 
 
 52 
 
transport of joy he asks Griselidis to become his wife. 
 Griselidis simply answers that he may dispose of his ser- 
 vant. The Marquis, handing her over to the Prior, tells 
 her that on the morrow she shall be brought to the castle. 
 Alain, as all depart, sobs that he has lost Griselidis. 
 
 ACT I. 
 
 The Oratory in the Castle. At rear a triptich with doors 
 closed concealing a figure of St. Agnes, holding the lamb, 
 Bertrade is spinning and singing a love song. Gonde- 
 band enters and tells her that love songs have had their 
 day. It is iron that sings now to punish The Saracen. 
 The Marquis comes in saying that in an hour they depart. 
 He has but one regret, to leave his wife and son. The 
 Prior promises him that his wife shall never leave the 
 castle, but the Marquis refuses to condemn her to such a 
 life. She shall have her liberty and move about as she 
 pleases. The Prior remonstrates and says the Devil is 
 clever. The Marquis responds if the Devil were there his 
 opinion would not change. As he speaks the Devil ap- 
 pears. He tells them he is at present having a pleasant 
 time hiding from his wife, who is the very devil herself. 
 Their specialty is making wives go wrong. The Marquis 
 wagers his nuptial ring that they can't make his go wrong. 
 The Devil accepts the wager and is gone. The Marquis, 
 alone, says that he knows himself safe in his wife's love 
 and Griselidis, coming in, satisfied him by renewing her 
 vows. Thereupon the call to arms is heard. Loys, the 
 child, is brought in to be blessed by his father. Griselidis 
 gives her lord a tearful farewell and he departs. 
 
 ACT II. 
 
 Outside the Chateau. A Plantation. The Devil is alone 
 and sings of the joy it is to be away from one's wife, when 
 of a sudden she turns up and the two have a row, but 
 make up when the Devil tells Fiamina that he is here to 
 capture a woman's soul — the Marquise's. So they lie in 
 
 53 
 
wait for her outside. Griselidis enters alone and is soon 
 after followed by Loys as the Angelus is heard. Then 
 Bertrade enters to say that a stranger and a woman are 
 waiting her summons. The Devil and Fiamina come in 
 as Orientals and he tells Griselidis that this woman with 
 him was the chosen one of the Marquis and it was his de- 
 sire that Griselidis give up everything to her. Griselidis, 
 in sorrow, asks by what authority, and the Devil shows 
 her the wedding ring of the Marquis, and Griselidis, in 
 submission to his desire, gives up hers to Fiamina. 
 She will go away with her little son. The Devil now 
 resolves to send for Alain and brings up spirits of evil 
 to precede him. Alain comes, as in a dream, and is 
 impelled by the same force that brings Griselidis. 
 They see each other and Alain speaks of their old days 
 of pleasure and Griselidis listens joyfully. Alain tells 
 her how it grew into love and is that now, but she will 
 have none of it and pleads to Heaven for strength to 
 resist, when Loys appears and she folds him in her 
 arms. But as Alain rushes away she lets go of Loys 
 a moment and the Devil seizes him, realizing that this 
 is the way to her heart. Sure enough she goes wild 
 with fear. Everything wakes up with excitement. 
 Loys is sought for everywhere while Griselidis prays 
 for death. 
 
 ACT III. 
 
 The scene of Act L Griselidis is alone, still bemoan- 
 ing the loss of Loys. She prays to St. Agnes, but when 
 she opens the triptich even the image of the Saint has 
 disappeared. A man is announced and under the dis- 
 guise of an old seaman the Devil comes in to tell Grise- 
 lidis that her child was stolen by one who loved her, a 
 pirate. He demands but a kiss for his return — one 
 little kiss, no one will know it. If not her boy may be 
 hanged. She seizes a knife and agrees to go and res- 
 
 54 
 
cue her boy or die. As she departs the Marquis comes 
 in, all broken up. The Devil proceeds to fill him with 
 stories against his wife's chastity, persuading him to 
 kill her. But the Marquis sees his ring on the Devil's 
 ringer and knows the motive of it all. He meets Grise- 
 lidis returning. She swears to her honesty and he to 
 his telling her that he sent no other woman to take 
 her place. They both blame the Devil, who appears in a 
 column, and before disappearing twits them with the 
 loss of their child. Both then pray for the return of 
 the child and suddenly through the miracle of St. 
 Agnes little Loys is restored amid much clanging of bells 
 and chorus of heavenly voices. The Devil promises to 
 become a hermit. 
 
 Another lyric work founded on an old miracle play and first 
 produced at the Opera Comique in Paris on November 20, 1901, 
 with Mile. Breval (remembered at the Metropolitan here) in the 
 title role and M. Dufranne as the Marquis. 
 
 DO 
 
Le Jongleur de Notre Dame 
 
 Miracle Play in Three Acts. 
 
 Music by J ales Massenet. 
 
 THE CAST. 
 
 The Prior. The Painter Monk. 
 
 Jean, the Juggler. The Musician Monk. 
 
 Boniface, the Cook. The Sculptor Monk. 
 
 ACT I. 
 
 The good people of Paris have come out to the Abbey 
 of Cluny, in the fields, to celebrate the Festival of the 
 Virgin. Various booths attract purchasers, and sing- 
 ing and dancing while the time joyously away. In the 
 midst of it all the song of the juggler is heard coming 
 nearer, and the crowd is ready to be amused in another 
 way. Jean comes in, and begging the pardon of the 
 noble company, spreads on the ground a shabby and 
 slender outfit, and performs some timeworn tricks, at 
 which the crowd murmur. He dances awkwardly, and 
 they laugh at him. He then proposes to sing, but his 
 songs are too goodygoody for their taste, so, asking 
 pardon of the Virgin, he starts a somewhat scandalous 
 song of the day, in which everybody joins with enthu- 
 siasm. While' it is going on the Abbey gate opens, 
 and the Prior appears and launches anathema at those 
 who come to desecrate such a spot. The crowd, in 
 fear, speedily melts away, leaving Jean rooted to the 
 spot. Upon him the Prior vents his ire. Jean begs for 
 mercy so humbly that the Prior, touched, tells him to 
 come and join the brotherhood. Jean pleads for the 
 delights of liberty, but the Prior tells him that liberty 
 means starvation, irreligion and perdition. At this 
 moment Boniface, the Cook Monk, arrives, leading his 
 donkey loaded down with good things — offerings of 
 the faithful, which he enumerates to the Prior. Poor 
 
 56 
 
hungry Jean's eyes are starting out of his head, and 
 when the Prior and Boniface move to go within the 
 cravings of his stomach compel him to follow them. 
 
 ACT II. 
 
 In the great hall of the Abbey the Painter Monk is 
 just finishing a picture of the Virgin for the high al- 
 tar, the sculptor, is limning a statue of the same, and the 
 Musician Monk is rehearsing a hymn of his own com- 
 position, for which the Prior praises him, but observ- 
 ing some jealousy, he also gives credit to the painter 
 and the sculptor. These two then argue strenuously 
 as to the relative merits of sculpture and painting, and 
 the musician joins in to insist that music is above 
 either. Their discussion soon becomes so violent that 
 the Prior orders them to stop at once and, as a penance 
 for pride and temper, to carry the painting to the 
 church and then pray before it. Jean, alone with Boni- 
 face, who is preparing the aliments for dinner, laments 
 his ignorance. He wishes to pray to the good Virgin, 
 like the others, but as he does not know Latin, which 
 apparently is the only language she understands, what 
 is the use. Boniface tells him that the Virgin listens to 
 the humblest prayer for she had her own experiences. 
 When she was fleeing from Herod with the infant Jesus 
 in her arms she did not know where to hide the child. 
 She asked a rose by the way side to let her place the in- 
 fant in its chalice. But the rose was proud and refused. 
 Sorely beset she saw an humble sage flower by the road- 
 side and begged it to help her and the little flower opened 
 its petals and then closed them over the infant Jesus and 
 he was saved from the soldiery. That is why the sage is 
 blessed among flowers, besides being useful in cookery. 
 
 ACT III. 
 
 In the church of the convent, Jean comes timidly and 
 alone carrying with him the juggler's outfit. He approaches 
 
 57 
 
the high altar and addresses the Virgin, saying that as 
 he does not know how to gain her favor in Latin the only 
 thing he can do is to give a performance in her honor. 
 He then goes through his simple tricks. Then he begs 
 pardon for his song which may not suit her ears. As this 
 proceeds a monk comes in, sees Jean, and, shocked be- 
 yond measure, runs to notify the Prior. He arrives ac- 
 companied by his monks and watches Jean in anger and 
 amazement. The monks exclaim "Sacrilege!" and want 
 to tear Jean to pieces as he goes on awkwardly dancing, 
 but Boniface restrains them. He suddenly points to the 
 Virgin. The figure becomes gradually illuminated, the 
 face takes on a beatific smile, and the arms are extended 
 toward Jean. "A miracle !" exclaims the Prior, and they 
 all rush toward Jean who has fallen exhausted to the 
 floor. He sees the Virgin beckoning to him and mur- 
 muring, "Now I shall at last know Latin." He dies in the 
 Prior's arms. Saints are seen surrounding the Virgin, 
 while the Prior solemnly says, "A saint has been among 
 
 us." 
 
 One of Massenet's most successful works, owing largely to the 
 fact that it was the first modern opera built upon an old miracle 
 play. The part of Jean by a woman is an innovation. It has 
 hitherto always been sung by a man. The work comes from the 
 Opera Comique in Paris. 
 
 58 
 
Manon 
 
 Opera in Five Acts. Words by H. Meilhac and P. Gille. 
 
 Music by J. Massenet. 
 
 THE CAST. 
 
 VV"^ Chevalier des Grieux. Innkeeper. 
 
 Comte des Grieux. Manon. 
 
 Lescaut. L. Pousette. 
 
 GU1LLOT MORFONTAIN. JAVOTTE. 
 
 De Bretigny. , 'l^siyyc Rosette. 
 
 ACT I. 
 
 The story is, of course, very similar to that of 
 Manon Lescaut adopted by Puccini many years after 
 Massenet. They differ materially in the working out. 
 The first scene is at the inn at Amiens, where are as- 
 sembled the old beau, Morfontain, de Bretigny and 
 some actresses. Manon comes in accompanied by 
 Lescaut. Morfontain immediately attempts a flirta- 
 tion with Manon, but is repulsed amid laughter. Then 
 comes Des Grieux, who is also struck by Manon's 
 beauty and, though he is to take holy orders, falls in 
 love with her. She reciprocates the feeling, for a gay 
 life in Paris is better to her mind than a convent. So 
 without more ado they take Morfontain's horses and 
 carriage and elope. 
 
 ACT II. 
 
 At Des Grieux's apartment in Paris. He has just 
 written a letter to the Count, his father, asking his 
 consent to his marriage with Manon and he reads it 
 to her. Just here Bretigny and Lescaut arrive to de- 
 mand that Des Grieux treat Manon honorably. He 
 shows them his letter. Privately Bretigny conveys to 
 Manon that her lover is to be arrested that night. 
 Manon would tell Des Grieux, but Bretigny tells her 
 she'll be happier with him and all his riches than with 
 the other's poverty. So Manon says nothing, even 
 
 59 
 
when they are alone together. As Des Grieux goes to 
 mail his letter he is seized and carried off. Manon re- 
 pents too late. 
 
 ACT III. 
 
 A joyful open air scene in Paris. Manon is now 
 under the protection of De Bretigny and is the re- 
 cipient of every luxury. She overhears the Count des 
 Grieux telling Bretigny that his son, disgusted with 
 the world, is about to take holy orders at St. Sulpice. 
 She addresses the Count, asking to know more, but 
 he, guessing whom she is is, will not gratify her. So 
 she determines to see Des Grieux at once. 
 
 SCENE II. At St. Sulpice. The Count endeavors 
 to dissuade his son from his course, but he stands firm. 
 The Count gone, Manon enters and presents herself 
 to Des Grieux, who loads her with reproaches. But 
 she tells him she repents and only loves him. She 
 beseeches him to return to her. At first strong he 
 gradually relents and finally throws all his good re- 
 solves to the winds. 
 
 ACT IV. 
 
 In a fashionable gambling house. Manon has 
 brought Des Grieux there in the hope of mending their 
 fortunes, as they have gone through nearly all that his 
 father had given him. She urges him to gamble, but 
 he is very loath to do it, but Lescaut also persuades 
 him and then old Guillot Morfontain taunts him so 
 that Des Grieux yields and begins to win large sums 
 at once. Guillot accuses him of cheating. Des 
 Grieux indignantly repudiates the charge, but soon 
 Guillot returns with officers of the law and causes the 
 arrest both of Des Grieux and Manon. The Count 
 also joins Guillot against Manon and tells his son that 
 she shall be placed where she can do no more harm. 
 Manon is distracted. 
 
 60 
 
ACT V. 
 
 On the road to Havre. Des Grieux urges Lescaut 
 to rescue Manon when the soldiers guarding the pro- 
 cession of girls appears. Lescaut says bribery may 
 succeed, force is impossible. Manon comes in and the 
 meeting of the lovers is delirious. But it is the last 
 test of Manon's strength. Des Grieux seeks to give 
 her hope and all the old love surges in Manon's heart. 
 But the struggle has exhausted her and, breathing 
 words of tenderness, she dies in the arms of Des 
 Grieux. 
 
 Produced at the Opera Comique, Paris, in January, 1884, and 
 adding greatly to Massenet's growing fame. It is still one of the 
 most popular works in the repertoire. It was first produced here 
 at the Metropolitan Opera House with Sybil Sanderson and Jean 
 de Reszke in the principal roles. 
 
 61 
 

 Sapho 
 
 Lyric Play in Five Acts. 
 
 Taken from the Novel of Alphonse Daudet by Henri Cain 
 
 and Bemede. 
 
 Music by J. Massenet. 
 
 THE CAST. 
 
 Jean. Landlord. 
 
 Caondal. Fanny Legrand (Sapho). 
 
 Cesaire. Divonne. 
 
 La Borderie. Irene. 
 
 ACT I. 
 
 Reception room leading- to Caondal's studio. The 
 sculptor is giving a costume ball, and many men and 
 women are present. As Caondal and his friend, La 
 Borderie, discuss their lost youth, Jean enters timidly, 
 for it is his first affair of the kind, and he confesses 
 that women frighten him. He will not go in and dance, 
 and, left alone, he regrets that he is not back home in 
 his own country of the South. Fanny enters, followed 
 by a number of men, whom she dismisses. But, seeing 
 Jean, she speaks to him and tries to put him at his 
 ease. At this moment supper is announced, and Ca- 
 ondal asks them both to join him, but Fanny bars 
 Jean's way, and asks him to leave the place. Jean re- 
 sists her, pleading for a moment, and then suddenly 
 both of them run out as voices are heard calling, 
 "Sapho! Sapho!" 
 
 ACT II. 
 
 Jean's lodging in Paris. He and his father are to- 
 gether. The mother is out with Irene, an adopted 
 daughter. They come in from shopping and talk of 
 getting away for home in an hour. The mother only 
 wants to see that Jean's lodging is comfortable. Jean 
 
 62 
 
and Irene are left together and talk of the old days 
 when they were children and loved one another as 
 brother and sister and Irene used to be afraid and 
 Jean always protected her. They used to kiss, then; 
 why not now, as brother and sister? Jean gives her 
 a chaste kiss on the forehead, which charms the old 
 people as they come in to say good-bye. Off they go, 
 leaving Jean to his work in Paris. He remains alone, 
 oppressed by loneliness, when to his surprise, Fanny 
 enters. She tells him she had been Avatching for the 
 departure of his people, but now she has seen him, 
 shall go. He tells her she is not in the way — he can 
 work just the same. She sees the Sapho of Caondal in 
 the place, but appears not to recognize it, and ex- 
 presses her hatred for artists. As he wants to kiss her 
 she tells him he is there to work and it is better she 
 should go away. But no, he loves her, yet is very 
 poor. That is nothing, she says ; love is everything 
 with youth as their portion. While he works she will 
 keep house, with one excursion a week to the country. 
 How they will love one another. It is for good and 
 all — forever. 
 
 ACT III. 
 
 A country restaurant at Mile d'Avray of a Sunday. 
 Jean and Fanny have come to enjoy the day. They 
 have been together a year, and their love has suf- 
 fered no disillusion. They are happy. As they go out 
 a noisy company come on, composed of Caondal, La 
 Borderie and a number of young men and women. 
 They call the landlord and order an excellent dinner, 
 to be served later, and over their wine sing and make 
 merry. As they are about to go, Caondal catches sight 
 of Jean, who wanders in, and asks him how he is get- 
 ting on and if he is still with Sapho. Sapho? asks Jean, 
 surprised. Yes, Sapho, Fanny Legrand, the handsome 
 
 6 3 
 
model. No, says Jean, hesitating, it's all over. So 
 easily as all that, they exclaim. As a rule a rupture 
 with her is terrible. Look at Froment; he became a 
 forger and was put away, she crying that she would 
 love him always. And what became of their child? 
 Jean is thunderstruck. He tells them that he lied — for 
 a year he had directed his soul in giving her his heart. 
 But now he swore to them that it w T as all over. As he 
 says this Sapho enters, radiant. Jean turns on 
 and curses her and the day they met. So she is the 
 infamous Sapho, and all the while he was loving her 
 she laughed at him. But that love now was changed 
 to disgust. Fanny knows that they have told him all. 
 Well, then, she says, as it is all finished, he had better 
 return to his papa and mamma, nothing left but to 
 get out. Broken with suffering, Jean exclaims "Adieu/' 
 and rushes away. She runs after him, but returns to 
 tell these men the cowards they are. In a burst of 
 invective she lets them know they are the ones who 
 have ruined all that was good in her, and now have 
 brought upon her this misery. She hates them all, and 
 as La Borderie laughs at her sufferings, she hurls her- 
 self upon him. 
 
 ACT IV. 
 
 At Avignon, where Jean has rejoined his family. 
 His mother wants to know the cause of his depression, 
 and he hesitates to tell her. She guesses it is some 
 bad woman, and he admits that it is, but adds that it 
 is all over, and asks her pardon. All will be well, the 
 mother says, but he must now stay at home and forget 
 the evil influence. He promises, and she goes away to 
 tell the father. Irene comes in and wants Jean to let 
 her know what is the matter. She is his friend, and 
 friends should tell each other everything, but the father 
 rushes in to inform Jean that the woman is here. Jean 
 
 64 
 
will see her and will prove his courage. Fanny comes 
 in. She could not stay without seeing him, if it only 
 be to say farewell. She has wept so much. She tried 
 to hope, but as days passed and he did not come back, 
 she yielded to despair. She could not think of Paris 
 without him. Will he not have pity on her breaking 
 heart? But Jean says it is no longer possible. He 
 cannot forget her past, it would always be before him. 
 She says it is his people who are trying to keep them 
 apart. At this, Jean showing anger, she tnrows her- 
 self on her knees, and implores his pity. He is about 
 to give way, when the father enters and tells Jean to 
 go w r ithin. Fanny clings to Jean, but finds herself face 
 to face with Divonne, who orders her out. Fanny 
 wants to know who she is. Divonne answers, "His 
 mother !" and Fanny bows her head and slowly de- 
 parts. 
 
 ACT V. 
 
 The room at Ville d'Avray, but much dilapidated. 
 Fanny is alone, broken hearted, preparing to leave. 
 She weeps over his letters. It is best as it is. She 
 would have ruined his life. Now she will accomplish 
 the duty she owes to her child, and bring him up pure 
 and honest. Jean enters suddenly. To her astonished 
 greeting he says he could stand the separation no 
 longer. But she tells him to go back, to forget her. 
 Is it to join another lover? he asks. Here he has 
 broken with family, friends — all, only to find her per- 
 jured and false. She sees in this proof of his love, and 
 tells him she will remain. But her expressions revive 
 his jealousy of her past, and she feels the uselessness 
 of it all. He is ill and exhausted, and as she makes 
 him comfortable he again tells her how he loves her, 
 and sinks off in slumber. She then gently disengages 
 herself from his arms and sits down to write him a 
 
 65 
 
letter, telling him that, loving him as she does, it is 
 better for both that they part forever. Giving him a 
 gentle kiss, she leaves him sleeping. 
 
 As an opera Sapho was initially produced at the Opera Comique 
 on November 27, 1897, with Emma Calve in the title part. 
 
 66 
 
Thais 
 
 A Lyric Comedy. 
 
 Taken from Anatole France's Romance by Louis Gallet. 
 
 The Music by Jules Massenet. 
 
 THE CAST. 
 
 Athanael. 
 Nicias. 
 Palemon. 
 Thais. 
 
 Albine. 
 
 Myrtale. 
 
 Crobyle. 
 
 ACT I 
 
 SCENE I. It is the 
 early Christian era. A 
 small assemblage of 
 holy men called Cenobites 
 live in the desert of 
 Thebes. Athanael, one of 
 them, has just witnessed 
 the unholy pleasures of 
 Alexandria and he tells 
 his story to the others, 
 particularly dwelling upon 
 a famous courtezan, by 
 name Thais, who governs 
 men through vice. He 
 would like to bring this 
 soul to God. Palemon, 
 the chief Cenobite, ad- 
 vises to leave it alone. 
 They separate and Atha- 
 nael sleeps. He has a vision in which he sees Thais in 
 the amphitheatre at Alexandria, acclaimed as a goddess 
 and he awakes determined to deliver this woman from 
 sin. He calls to his brethren, who press about him and 
 
 6 7 
 
 RENAUD. 
 
tells them of his mission. Palemon would still hold him 
 back, but Athanael departs as they speed him on his way. 
 SCENE II. The house of Nicias at Alexandria. 
 Athanael appears and demands to see Nicias, who 
 is a wealthy man of fashion and who greets Athanael as 
 an old friend. He laughs at Athanael when the latter 
 tells his mission. But as Thais, his mistress, will soon be 
 here he wants him to appear well before her. So his two 
 slaves, Crobyle and Myrtale, anoint him and place rich 
 robes over his monk's dress. Thais is announced and she 
 comes surrounded by a throng of satellites. She remarks 
 on the severe mien of Athanael and laughs at him when 
 he tells of salvation and a life everlasting. She believes 
 in but love and joy and pleasure. Athanael says he will 
 go to her palace that night and prove to her that there is 
 a higher power. Thais dares him to do it. 
 
 ACT II. 
 
 The palace of Thais. She is alone and prays to Venus 
 for a continuance of youth and beauty. Athanael enters 
 and she puts in play all her cajoleries. He prays for 
 strength to resist the temptation and speaks to her stern- 
 ly. There is but one love, he tells her, that of God, and 
 but one life, the one to come. She treats him lightly at 
 first, but gradually the new doctrine makes an impress 
 and she succumbs to his power and then revolts against 
 it. Telling her he will await her coming Athanael de- 
 parts. 
 
 SCENE II. The outside of Thais' house. Athanael is 
 extended on the doorstep. Thais comes to him and tells 
 him to lead, she will follow. Athanael will take her to a 
 convent in the desert presided over by Albine and Thais 
 joyfully consents. But at this moment Nicias and his 
 licentious friends make an irruption just as Athanael tells 
 Thais to go within and set fire to all her worldly goods, 
 including her palace. When she appears again she is 
 
 68 
 
meanly clad. But by the light of the flames the mob rec- 
 ognize her and oppose her going. They insult Athanael 
 and wish to do him bodily harm. They demand his death, 
 but Nicias interposes and by throwing handfuls of gold to 
 the populace distracts their attention and permits Athanael 
 and Thais to escape. 
 
 ACT III. 
 
 SCENE I. Thais, half dead with fatigue and led by 
 /\thanael, arrives at an oasis on the desert. He seats her 
 in the shade and pities her sufferings, which have been 
 borne with such courage. He brings her fruit to eat and 
 water to drink and bathes her wounded feet. Voices are 
 heard approaching. It is Albine and the White Ladies, 
 who receive Thais from Athanael and take her into their 
 sisterhood. Athanael alone gives a cry of anguish. He 
 will see her no more. 
 
 SCENE II. In the garden of the convent surrounded 
 by Albine and the White Ladies, Thais is dying. She 
 sees the promise of a blessed hereafter. Her companions 
 call her Saint. Athanael appears and as the women move 
 away he falls on his knees beside Thais. She speaks of 
 the world to come, but he only of this world, in which he 
 implores her to remain. Nothing is true but life and love. 
 He loves her. But she does not understand him. Her 
 spirit is already elsewhere and she dies with the name of 
 God on her lips, unknowing both his love and his despair. 
 
 Produced at the Grand Opera in Paris and revived there last 
 summer successfully with Mary Garden and M. Renaud in the 
 roles they sang at the Manhattan Opera House last winter. A 
 good example of the prolific Massenet's later style. 
 
 69 
 
L'Africaine 
 
 Grand Opera in Five Acts. 
 Book by Eugene Scribe. 
 Music by G. Meyerbeer. 
 
 THE CAST. 
 
 Vasco di Gam a. Don Alvar. . 
 
 Nelusko. Selika, a Slave. 
 
 Don Pedro. Inez. 
 
 Don Diego. Anna. 
 
 Grand Inquisitor. Grand Brahmin. 
 
 ACT I. 
 
 Vasco di Gama, a young naval officer, appears before 
 the Royal Council in Lisbon and urges that he be given 
 ships and men to prove that a passage around the Cape 
 of Storms (Good Hope) is possible. In support of his 
 theory he produces two slaves, Selika and Nelusko, 
 who have been captured by him in these unknown 
 lands. The Council listens, and, influenced by Don 
 Pedro, its President, refuses the sought for aid. Di 
 Gama is furious and uses language so violent that he is 
 ordered to prison. Selika and Nelusko are sent there 
 as infidels. 
 
 ACT II. 
 
 Vasco languishes in prison. While he sleeps Ne- 
 lusko would kill him, but Selika prevents it, and it is 
 evident that she loves him. Vasco, waking, examines 
 the map and Selika shows him the right passage he 
 seeks and warns him that the one he thought of was 
 fatal. Inez, whom Vasco loves, comes with Don 
 Pedro, her hsuband. Vasco gives her Nelusko and Se- 
 lika, and the latter grieves. Inez hands Vasco a royal 
 pardon, but his joy is brief, for he learns that, profiting 
 by the discoveries that he has made, Don Pedro is 
 about to attempt the doubling of the Cape ahead of 
 
 70 
 
him. Inez is to accompany him, and Selika and Ne- 
 lusko will go with her. 
 
 ACT III. 
 
 On board Don Pedro's ship. Everything is working 
 smoothly, but Nelusko predicts a heavy storm and begs 
 to be allowed to take the helm, and after some doubts 
 his request is acceded to. Suddenly another ship is 
 seen. It is Vasco's, and he comes aboard to warn Don 
 Pedro that he is running into danger. Don Pedro, fear- 
 ing Vasco's success, orders him shot, but heeding the 
 prayers of Inez, Don Alvar and Selika, causes him to 
 be put in irons below. Suddenly the ship is boarded 
 by a horde of Indians. The crew is overpowered and 
 all are made prisoners. 
 
 ACT IV. 
 
 The Indian Kingdom of which Selika is Queen. All 
 the men captured have, including Don Pedro, been put 
 to death save Vasco, who was last found in the hold. 
 The women are about to meet a like fate. Vasco comes 
 on, followed by soldiers. The savages are about to kill 
 him, when Selika stops them and, to save his life, pro- 
 claims him her husband. Nelusko protests, but Selika 
 wins him over to swear that her statement is true. 
 Alone with Vasco, she tells him of her undying love, 
 and he, inspired by her devotion, promises to love her 
 in return. 
 
 ACT V. 
 
 Selika learns from Inez that Vasco has always been 
 her only love, and is so yet. At first angry, she is con- 
 vinced that it is hopeless for her to part these two, and 
 she determines to sacrifice herself. When Nelusko en- 
 ters she orders him to conduct Vasco and Inez on 
 board their ship and see that they set sail. 
 
 In the second scene Selika has repaired to the dread 
 
 7i 
 
shade of the fatal mancanilla tree. She sings her swan 
 song and dies. There Nelusko finds her and remains to 
 share the fate of the woman he worshipped. 
 
 L'Africaine, produced in 1865, was Meyerbeer's last and only 
 posthumous work and was largely pieced out from scraps found 
 in his papers and completed by M. Fetis, director of the Brussels 
 Conservatoire, who wrote the entire orchestration. Nor has 
 L'Africaine ever enjoyed the popularity of some of Meyerbeer's 
 other works. The libretto was by Scribe. 
 
 72 
 
Les Huguenots 
 
 Written by Scribe. Music by Meyerbeer. 
 
 CAST. 
 
 Raoul de Nangis., Tenor. Valentine, Soprano. 
 
 St. Bris, Baritone. Marguerite de Valois, Soprano 
 
 De Nevers, Baritone. Urbain, Contralto. 
 
 Marcel, Bass. 
 
 ACT I. 
 
 At the chateau of the Due de Nevers in Touraine, 
 Raoul, a young Huguenot, is a guest at a banquet 
 among a number of Catholic gentlemen. He tells of 
 having rescued a lady from an importunate band of 
 students. He fell in love with her, though he does not 
 even know who she is. Marcel, a stern old Huguenot 
 and equerry to Raoul, here enters and expresses his 
 displeasure at seeing him in such company. But he 
 is laughed aside as Nevers is called out to meet a veiled 
 lady who passes to the garden. The guests watch the 
 meeting, and Raoul recognizes in the stranger the one 
 whom he saved from the turbulent crowd. As Nevers 
 returns, Urbain, the page of Marguerite de Valois, comes 
 in with a note from his mistress commanding Raoul to 
 come to her in strictest secrecy, his eyes bound and led 
 by Urbain. Nevers and the others congratulate Raoui 
 on his good fortune and the act closes with his departm*.. 
 
 ACT II. 
 
 The gardens of Chenonceaux. Marguerite is surround- 
 ed by her maids of honor. Valentine comes to tell the 
 queen that, as promised, she has seen Nevers and has 
 induced him to refuse her hand, but what will her father, 
 the Count de St. Bris, say to it? The Queen promises to 
 arrange matters with him. It is her secret plan to bring 
 
 73 
 
about a match between Raoul and Valentine so as to 
 unite two prominent Protestant and Catholic families. 
 Valentine already loves Raoul. She departs as he is 
 brought in still blindfolded and, the bandage removed, 
 he is delighted but mystified by the queen's kindly greet- 
 ing. 
 
 Now enter the nobles of the court, both Catholic and 
 Protestant. At the queen's request they all swear friend- 
 ship and also to approve the bethrothal she has planned. 
 St. Bris then brings in his daughter Valentin v e, whom 
 Marguerite presents to Raoul as his future wife. ~ Raoul 
 recognizes in her the woman who had the secret meeting 
 with Nevers, and thinks a discarded mistress is being 
 palmed off on him. He therefore violently repudiates her. 
 to the astonishment of the Queen, the grief of Valentine 
 and the uncontrolled rage of St. Bris and Nevers, who 
 swear that his blood shall flow for the insult. The old 
 Huguenot, Marcel, alone is satisfied. 
 
 ACT III. 
 
 A river resort near Paris and two inns frequented re- 
 spectively by Catholics and Huguenots. A church at rear 
 where repairs the bridal procession of Nevers and Valen- 
 tine. Raoul sends a challenge to St. Bris by Marcel, and 
 St. Bris at once conspires with his friends to do Raoul to 
 death treacherously. Valentine overhears the plot and 
 wants to let Raoul know of it in time. She encounters 
 Marcel, who tries to find Raoul to warn him when, just as 
 Valentine re-enters the church, Raoul arrives to keep his 
 appointment and comes face to face with St. Bris and 
 the latter's friends. Marcel then lets his master know 
 there is treachery afoot. Raoul can't believe it an3 is 0*1 
 the point of engaging St. Bris when, at the call of Mar- 
 cel, the Huguenots pour out from the inn. St. Bris calls 
 on the Catholics and these also hasten on. There is dan- 
 ger of a general fight when at the moment Queen Mar* 
 
 74 
 
guerite of Valois appears, preceded by the Royal Guards. 
 She is angered and commands all to desist. St. Bris and 
 Raoul mutually accuse one another of having begun the 
 disturbance. Marcel points to Valentine as the one who 
 disclosed the plot to kill Raoul. The latter is surprised, 
 and still more when Marguerite tells him that it was at her 
 behest that Valentine went to meet Nevers to break off a 
 hateful marriage. Raoul, now in despair, sees a barge ap- 
 proach, from which descends Nevers, who comes to carry 
 off his bride. As the curtain falls the boat moves away. 
 
 ACT IV. 
 
 Audience room at the town house of Nevers. Valen- 
 tine is alone and dejected. Raoul comes in furtively, and 
 Valentine begs him to fly from the vengeance of her father 
 and hei husband. As they suddenly enter Valentine con- 
 ceals him behind the tapestry. St. Bris then discloses to 
 his friends the project sanctioned by the King to deal out 
 death to all Huguenots this night of St. Bartholomew. 
 All acquiesce except Nevers, who denounces it as infa- 
 mous. He is placed under arrest. St. Bris then gives 
 directions as to carrying out the massacre. Soldiers, 
 monks and nuns are admitted. The monks bless the 
 swords and the nuns pin white crosses on the arms of the 
 Catholics to distinguish them. Then all leave to carry 
 out "the will of Heaven and the King." 
 
 Raoul comes from behind the tapestry when all are 
 gone. He is filled with horror and rushes to the centre 
 door which he finds bolted. Turning he meets Valentine. 
 He would go to join his brethren. She urges him to 
 stay. He persists, she clings to him and avows her love. 
 He hesitates, and for a few moments both forget every- 
 thing else in their transport of passion. But the sound of 
 the great bell followed by a fusillade recalls to Raoul his 
 duty. The red glare of it is seen through the window. He 
 must go. She detains him. He frees himself. She 
 
 75 
 
swoons. Remaining but a moment to embrace her inan 
 imate form he leaps to his doom. 
 
 Note. — There exists a fifth act, which is never performed here 
 and seldom elsewhere. In it Raoul, Valentine and Marcel meet 
 during the massacre, Ail are killed- 
 
 76 
 
L Etoile du Nord 
 
 (Star of the North.) 
 
 Opera in Three Acts. 
 
 Words by Scribe. 
 
 Music by G. Meyerbeer. 
 
 THE CAST. 
 
 Peter, the Tsar. Ismaeloff. 
 
 Danilowitz. Catharine. 
 
 George. Prascovia. 
 
 Gritzenko. Natalia. 
 
 Termoloff. Ekimona. 
 
 ACT ! 
 
 The scene is near Wiborg, on the Gulf of Finland. 
 Peter, disguised as a carpenter, takes the part of Danilo- 
 witz, a pastry cook, when the latter refuses to drink to 
 Sweden but drinks to Russia instead. As a row is im- 
 minent the bell calls all to work and Danilowitz tells 
 Peter that he is going back to Russia to become a sol- 
 dier. Peter says he'll go, too. George comes on and 
 tells Peter that he loves Prascovia, but has not dared 
 ask her father for her hand, so Catharine, his sister, 
 has gone to do it in his place. They are in the act of 
 drinking to success when Catharine enters and tells 
 them that her news is good. The father has consented. 
 Then she upbraids Peter for drinking, which so enrages 
 him that he leaves her. Prascovia now comes in great 
 alarm to say that the Cossacks have arrived to pillage 
 everything, but Catharine tells them to leave it to her 
 and, shortly after the Cossacks' arrival, she appears as 
 a gypsy and is recognized by them as a sainted one. 
 She prophesies to them and takes them all off in good 
 humor. Peter, who has watched her stratagem, when 
 she returns tells her that she has inspired him with 
 
 77 
 
higher purpose and that he loves her. She then prom- 
 ises to be his when he proves himself. The marriage 
 now prepares, when news comes that George is drawn 
 in the conscription and he and Prascovia are in despair 
 when Catharine tells them that she will find a substi- 
 tute. The wedding festival now begins as in the 
 background the soldiers begin to embark, Catharine 
 disguised in a long cloak among them. She has taken 
 George's place. 
 
 ACT II. 
 The Russian camp. Officers, soldiers and others are 
 singing and dancing. After a time Catharine enters 
 with the new recruits. She attracts the attention of 
 Gritzenko who, in his cups, tells her of a conspiracy 
 against the Tsar and lets Catharine read his instruc- 
 tions. Termoloff, an officer, comes and excites the 
 men but orders them to erect a tent for two high offi- 
 cers. In the tent are soon seen Peter, Danilowitz and 
 others, with Catharine acting as sentinel outside. 
 Peter and Danilowitz begin drinking and incidentally 
 flirting with two vivandieres, which naturally enrages 
 Catharine, and as she goes on peeping in she becomes 
 more and more bitter. By the time Peter begins to 
 show plainly the effect of drink Ismaeloff, coming to 
 present a paper, catches Catharine spying, and when 
 Gritzenko upbraids her she is defiant and slaps his face. 
 Brought before Peter he orders her to be shot. She 
 throws herself on her knees before him, but he is too 
 far gone to know her. As she is led away memory 
 comes to him and he orders her brought back, but Grit- 
 zenko returns to say that the young soldier had broken 
 away and swam the river. But Catharine had left the 
 conspiracy papers and her ring in Peter's hands. He 
 would lament her loss, but just then the revolt breaks 
 out. They do not yet know Peter. Suddenly he an- 
 
 78 
 
nounces himself, makes a stirring appeal to the troops 
 and, as they hesitate, the loyal regiments arrive and de- 
 ploy as the Tsar's hymn is intoned. 
 
 ACT III. 
 
 Peter is in his palace, disconsolate at the loss of 
 Catharine, and he confides his sorrows to Danflowitz, 
 now one of his high officers. Gritzenko enters and 
 tries to explain to the Tsar how he let the young sol- 
 dier, who had slapped his face, escape. He tells how 
 he fired at him as the prisoner swam the river and 
 thinks he hit him. As this is Catharine he speaks of he 
 is much surprised when the Tsar tells him that if he 
 he does not produce the young soldier by the morrow 
 he himself shall be shot. But he is relieved by the 
 entrance of George and Prascovia, for it was under 
 George's name that Catharine enlisted, and he thinks 
 he has his man and tells him he is to be shot. For- 
 tunately George recognizes Danilowitz. Peter enters in 
 great agitation. He has heard Catharine's voice. She 
 enters quite bereft of her senses, but it is immediately 
 arranged that the scene of the first act shall be repeat- 
 ed. Here again she sees the familiar faces of George, 
 Prascovia, Danilowitz, and finally Peter, who folds her 
 in his arms and proclaims her "his Empress." 
 
 Originally produced in 1854 at the Opera Comique in Paris. 
 Much of the music was taken from an earlier opera of the same 
 composer called Das Feldlager in Schlesien. 
 
 79 
 
Les Contes d' Hoffmann 
 
 (The Tales of Hoffman.) 
 
 Opera Comique in Four Acts and an Epilogue. 
 
 Book (from the German) by Jules Barbier. 
 
 Music by Jacques Offenbach. 
 
 THE CAST. 
 
 Hoffmann. Luther. 
 
 Counselor Lindorf Nathaniel 
 
 Coppelius. Hermann. 
 
 Dapertutto. Stella. 
 
 Doctor Miracle. Giulietta. 
 
 Spalanzani. Olympia. 
 
 Crespel. Antonia. 
 
 schlemil. nlcklausse. 
 
 Andres. The Muse, 
 
 cochenille. a ghost. 
 Frantz. 
 
 ACT I. 
 
 Hoffmann enters a familiar tavern in a German town 
 obsessed by drink and melancholy. His friends twit him 
 about his love affairs and ask him to tell the story. Hoff- 
 mann at first declines, but as the punch is lighted changes 
 his mind and begins. 
 
 ACT II. 
 
 Spalanzani, a man of science, possesses a very re- 
 markable daughter, Olympia, and he has invited man} 
 guests to be present at her bringing out. Among these 
 are Hoffmann and his friend Nicklausse. Coppelius 
 enters and offers to sell Hoffmann eyeglasses that will 
 make him see anything he wants to see. Hoffmann 
 buys a pair. Coppelius then concludes his bargain 
 with Spalanzani for a pair of eyes for Olympia and 
 takes notes on Elias, a banker, in payment. The 
 guests assemble, Olympia comes in and then consents 
 
 80 
 
to sing. Everybody is delighted and Hoffmann straight 
 away falls in love with her and, as the guests move 
 about, he declares himself and she responds. As she 
 leaves and Hoffmann tells Nicklausse how divine she 
 is, Coppelius returns, furious, exclaiming that he has 
 been cheated — Elias is bankrupt. He slips into Olym- 
 piads room and hides. Dancing then begins and Hoff- 
 mann takes Olympia for a partner. She dances faster 
 and faster till Hoffmann falls exhausted. As she re- 
 tires to her room a noise of rending and smashing is 
 heard and Coppelius enters with the corpse of Olympia 
 in tatters. She was only an automaton. Coppelius 
 and Spalanzani fight while Hoffmann laments his lost 
 love. 
 
 ACT III. 
 
 In Venice. Giulietta is entertaining Schlemil and 
 his friends. When Hoffmann arrives with Nicklausse. 
 Schlemil treats him impertinently. Nicklausse warns 
 Hoffmann against falling in love with a courtezan and 
 Hoffmann laughs at the notion. E>ut Dapertutto wants 
 Schlemil out of the way and persuades Giulietta to 
 cause Hoffmann to fall in love with her. Giulietta ex- 
 ercises her wiles on him and Hoffmann falls an easy 
 victim. She requests, as a favor, that Hoffmann will 
 obtain the key to her rooms from Schlemil, who has it. 
 Hoffmann promises and when Schlemil enters he 
 makes his request. Schlemil tells him he can only 
 have the key with his life. They draw swords and 
 fight. Hoffmann kills Schlemil and rushes with the 
 key to Giulietta's door finds no one there, but as he 
 turns around sees Giulietta moving off in a gondola in 
 the arms of another man, laughing. Hoffmann curses 
 her as Nicklausse rushes in to tell him that the police 
 are coming. They flee 
 
 81 
 
ACT IV. 
 
 Crespel has <* daughter — Antonia — who is afflicted 
 with consumption. She does not understand why her 
 father will not let her sing, but reluctantly complies 
 with his wishes. Crespel orders Frantz, the deaf ser- 
 vant, to admit nobody while Frantz is trying his voice 
 and a dance. Hoffmann and Nicklausse enter. An- 
 tonia returns and rushes to Hoffmann's arms. They 
 make projects for their long deferred marriage, but 
 Crespel is heard coming back and Hoffmann hides. 
 Dr. Miracle is announced, and though Crespel tries to 
 prevent him he gets in. He wants to prescribe for 
 Antonia, who has gone to her room. Crespel opposes 
 him and finally pushes him out. Miracle returns 
 through the wall. Then they struggle and disappear 
 together, but Hoffmann now understands why Antonia 
 must not sing and he also, to her surprise, begs her not 
 to do so. She, however, promises and Hoffmann de- 
 parts as Miracle reappears. He persuades her that 
 to sing is her life and, as she hesitates, he causes the 
 picture of Antonia's mother to become animated and 
 join in his request. Antonia yields and sings on till 
 she falls exhausted. Miracle disappears. Crespel 
 rushes in. He turns on Hoffmann, who comes after, 
 believing him responsible for Antonia's condition, but 
 Nicklausse seizes the knife in time. Antonia dies. 
 
 EPILOGUE. 
 
 "And such/ 7 concludes Hoffmann, in the tavern, "is 
 the story of my loves. ,, The crowd that had listened 
 to him melts away and he is left alone. The Muse ap- 
 pears to him in his stupor and tells him that his suffer- 
 ings now are past — in future he must worship none 
 but her He promises and falls asleep on the table as 
 
 82 
 
Stella, another of his loves, goes out with Counselor 
 Lindorf. 
 
 This was Offenbach's last effort. In fact it was only produced 
 at the Opera Comique after the composer's death, and with only 
 moderate success. It was heard here at the old Fifth Avenue 
 under the management of Maurice Grau in the middle eighties, 
 with Victor Capoul in the name part. It did not succeed. Re- 
 cently important excisions and alterations have been made in the 
 libretto and the opera has been turned into a success in Europe 
 as well as here. 
 
 83 
 
La Boheme 
 
 Opera in Four Acts. 
 
 Adapted from Henri Murger's "Vie de Boheme!' 
 
 Music by G. Puccini. 
 
 PERSONAGES. 
 
 RODOLPH. BENOIT. 
 
 schaunard. alcidor. 
 
 Marcel. Museta. 
 
 Collin. Miml 
 
 ACT I. 
 
 Rodolph, a poet, Schaunard, a musician, Marcel, a 
 painter, and Collin, art collector, are four Bohemians in 
 Paris living as best they may, by their wits. Rodolph and 
 Marcel are just now in their denuded room suffering both 
 from hunger and cold. They put a play of Rodolph's in 
 the stove to get some heat and burn it act by act, and 
 Collin comes to enjoy the warmth. A boy arrives with 
 provisions and fuel, and then follows Schaunard who 
 has struck a run of luck. He has been engaged by an 
 Englishman to play his parrot to death. For three days 
 he had been yelling and playing and then adopted a sim- 
 pler means. He gave the bird parsley. It died and he 
 was out of a job. While they are feasting, Benoit, the 
 landlord, arrives with his bill, but they make him join 
 their party and ply him with wine ; after, they pretend to 
 be shocked at one of his stories and turn him out. Then 
 dividing the money on the table they resolve to go out 
 and have a good time. Rodolph promises to join them 
 shortly, as he must finish some writing. After they are 
 gone there is a knock at the door. It is Mimi, come to 
 ask a light for her candle which has blown out. As she 
 is departing she coughs and partly swoons, dropping her 
 candle and key. Rodolph revives her and they both 
 search on the floor for the key in the dark. He finds it, 
 
 84 
 
but pretends he can't and so they tell each other their 
 stories, their struggles, until Rodolph asks Mimi in sym- 
 pathy to join him and his companions. They depart 
 together. 
 
 ACT II. 
 
 A public square in Paris, the Cafe de Momus on one side. 
 The four friends are in the crowd making purchases. 
 Rodolph buys Mimi a bonnet with roses on it. Pushing 
 their way through the tumult the three others carry on 
 a table from the cafe and all seat themselves as Rodolph 
 introduces Mimi and then they order a monstrous repast. 
 Musetta comes on in company with an old gentleman 
 and richly dressed. He complains that she tires him out, 
 but she pushes him in a chair and then she grows irri- 
 tated that the four friends don't notice her, particularly 
 Marcel. The latter is disconcerted at seeing her with this 
 old man. Musetta tries in every way to attract Marcel's 
 attention. Then she quarrels with the waiter and keeps 
 Alcidor in a ferment. She must get to Marcel, and to 
 be rid of her old adorer pretends that her shoe is killing 
 her. She makes him rip it off and go to get her another 
 pair. She then rushes into Marcel's arms. It is then dis- 
 covered that they have no money to pay the bill. Musetta 
 tells the waiter to add it to her own and leaves it for 
 Alcidor to pay. A procession comes along. The three 
 friends lift Musetta on their shoulders and join Rodolph 
 and Mimi, who follow laughing. When they are gone 
 Alcidor returns and is presented with the bill. Seeing it 
 and finding himself deserted, he falls in his chair, raging. 
 
 ACT III. 
 
 At one of the gates of Paris. It is an early winter 
 morning. The Customs men examine all who pass in. 
 Mimi, forlorn and shivering, coughing incessantly, comes 
 to ask for Marcel. He comes out of the inn and she tells 
 
 85 
 
him that while she loves Rodolph and he her, she can 
 stand poverty but not his fits of insane jealousy. Marcel 
 says he's happy with Musetta because mirth binds them 
 together. He will go and get Rodolph. But Mimi won't 
 meet him and she hides behind the trees as he comes on. 
 Rodolph tells Marcel that he has resolved to part from 
 Mimi. It may be his jealousy, but they are very unhappy. 
 She is heartless. He does love her, the more so she's 
 ailing and will soon die. Overhearing this Mimi has a 
 violent fit of coughing and thus reveals her presence. 
 Rodolph takes her in his arms as Musetta rushes out of 
 the inn laughing, Marcel following furiously and accus- 
 ing her of flirting. As they continue their quarrel and 
 part in anger, Rodolph and Mimi resolve, before saying 
 farewell, to await another springtime and forget all bick- 
 erings and bitterness. They walk slowly away together. 
 
 ACT IV. 
 
 Marcel is painting and Rodolph writing as in the first 
 scene. They both are sore, but Marcel kisses some rib- 
 bons of Musetta and Rodolph sings to the little bonnet 
 with roses that was Mimi's. Schaunard brings in four 
 rolls and a herring, and they all sit and pretend they are 
 having a fine meal and that the water is champagne. 
 Then they have a dance and a mock duel occurs between 
 Schaunard and Collin with tongs. At this moment Mu- 
 setta enters saying that Mimi, ill, is with her. They all 
 bustle about and Rodolph supports Mimi to the bed that 
 is drawn out. She says she feels better to be near him, 
 but she is so cold. She greets the friends who are in 
 despair as there is nothing in the house to give her. Mu- 
 setta takes off her earrings and tells Marcel to go sell 
 them to buy tonics and medicines for her. She goes, too, 
 and Collin takes off his overcoat to pawn it. Schaunard 
 follows. A tender scene takes place between Mimi and 
 Rodolph, who says they will never part again. He thinks 
 
 86 
 
she is growing better. Then all come back bringing va- 
 rious things. The doctor is coming. But as they prepare 
 everything for her comfort the end comes. Rodolph 
 with a great cry throws himself on the bed. The others 
 silently weep. 
 
 Boheme, which in its verve, piquant combinations of color and 
 unflagging inspiration stands foremost among Puccini's works, so 
 far, first saw light at Milan in 1896. It made an instant and 
 unqualified hit, and that hit has been repeated everywhere, the 
 opera has been performed. It was first given here by a wan- 
 dering Italian company at the Star Theatre on Broadway and 
 Thirteenth street, and was only subsequently taken up by Grau at 
 the Metroplitan Opera House. 
 
 87 
 
La Tosca 
 
 Opera in Three Acts. 
 
 Taken from s Sardous Drama. 
 
 Music by G. Puccini. 
 
 THE CAST. 
 Mario Cavaradossi. Spoletta. 
 
 Baron Scarpia. 
 Angelotti. 
 
 Sciarrone. 
 Floria Tosca 
 
 ACT I. 
 
 Mario is painting in 
 the church of St. Andrea 
 in Rome when a friend 
 of his — Angelotti, who 
 has just escaped from 
 the Castle of Sant. An- 
 gelo — rushes in and 
 hides in one of the 
 chapels. Cavaradossi 
 gives him his dinner 
 basket and promises at 
 nightfall to see him 
 safely away. As the fugi- 
 tive goes to hide again, 
 Tosca, who is a cele- 
 brated singer, comes in to see Mario, of whom she is 
 deeply enamored. She wishes him to come to her 
 villa that night, and grows jealous that he does not re- 
 spond more warmly. But Mario is thinking of his 
 friend Angelotti, who, as soon as Tosca leaves, comes 
 out of his hiding place in terror as the great bell of Sant. 
 Angelo has just given warning of his escape. Mario 
 resolves to conceal him in the well of his villa for the 
 present, and the two depart together. The Sacristan is 
 engaged with his choir boys when Scarpia, the Chief of 
 
 88 
 
 MARIA LABIA. 
 
Police, enters. He interrogates the nervous Sacristan 
 and soon discovers enough to lead him to believe that 
 Angelotti has been there and that Mario Cavaradossi has 
 connived at his flight. Just then Tosca comes in to tell 
 Mario she must sing that night, and Scarpia, using the 
 utmost courtesy, draws enough from her, by exciting 
 her jealousy, to confirm his opinion of Cavaradossi's com- 
 plicity. Scarpia hopes, Mario out of the way, to become 
 
 Tosca's lover. 
 
 ACT II. 
 
 Scarpia's apartments in the Farnese Palace. He is at 
 supper and sends a note to Tosca that he must see her 
 after she has sung. Spoletta, his principal agent, comes 
 in to say that following Tosca he had come to a villa and 
 searched it. He had failed to find Angelotti, but caught 
 Cavaradossi and had brought him here. Mario is intro- 
 duced and demands to know what it means. Scarpia 
 accuses him at once of conniving at Angelotti's escape. 
 Mario denies everything. Scarpia threatens, but Mario 
 treats him with contempt. Tosca arrives and Mario warns 
 her to say nothing. Mario is taken to another room to 
 have the truth tortured out of him. Tosca does not 
 realize this. Scarpia plies her with questions, but getting 
 no satisfaction, he tells her of the torture and she hears 
 Mario groan. When she still refuses, Mario's torture is 
 redoubled, the door is opened and she is permitted to see 
 the ordeal. Scarpia says to her that unless she will give 
 Angelotti's hiding place away her lover will die. Unable 
 to support the agony she tells the secret of the well. 
 Cavaradossi is brought to the room in a swoon. He re- 
 proaches Tosca for having told and Scarpia orders him 
 taken away. She clings to him, but a threat of Scarpia's 
 brings her back. It is that Mario shall suffer death. She 
 begs, she pleads ; yes, Mario can be saved ; the price will 
 be herself; he, Scarpia, loves her. She recoils with 
 horror at the proposition. He pursues her, she evades 
 
 8 9 
 
him. Spoletta comes in to say that Angelotti when cap- 
 tured in the well took poison and died. The fear of such 
 a fate for Mario causes Tosca to consent to Scarpia's 
 proposal. Scarpia must give immediate orders for Ca- 
 varadossi's release and a safe conduct out of the coun- 
 try for two. Scarpia consents, but says appearances must 
 be kept up. He tells Spoletta that the soldiers in the 
 shooting must use blank cartridges — just like Palmieri: 
 Left together, Scarpia writes the safe conduct. As his 
 back is turned Tosca takes a knife from the table and as 
 Scarpia comes toward her smilingly for his reward, she 
 stabs him to the heart. He falls and dies, cursing her. 
 She calmly places the candles about his head, the crucifix 
 on his breast and departs. 
 
 ACT III. 
 
 Cavaradossi is brought to the platform of Sant. An- 
 gelo for execution. He laments his fate as Tosca comes 
 in with the safe conduct and tells Mario of the death of 
 Scarpia and of the coming execution only being a make- 
 believe. Both are overjoyed at the bright prospect. 
 
 The file of soldiers come up by the trap door and line 
 themselves. Tosca tells Mario to be sure to fall when 
 they fire. They do fire and he does fall, but when Tosca 
 rushes forward with loving words she finds a lifeless 
 body. The guns were loaded — just like Palmieri. As 
 Tosca gives way to her despair, cries are heard. They 
 come to arrest her for the murder of Scarpia. Rushing 
 to the battlements she throws herself headlong to death. 
 
 Tosca, the third of Puccini's successes, was first produced in 
 1899 at Milan. It tested the composer's dramatic powers, and 
 he got out of the difficulty, especially the killing in the second 
 act, rather gracefully than well. But the opera, as a whole, is 
 interesting and has proven very successful. 
 
 90 
 
Madame Butterfly 
 
 Opera in Three Acts, 
 
 From the Drama by David Belasco and /. Luther Long. 
 
 Music by G. Puccini. 
 
 THE CAST. 
 
 Cho-Cho-San (Madame Butterfly). Lieutenant Pinkerton. 
 Suzuki (her maid). Sharpless. 
 
 Kate Pinkerton. Goro. 
 
 The Aunt. Tamajori. 
 
 The Cousin. The Bonze. 
 
 At Nagasaki — Present Day. 
 
 ACT I. 
 
 Lieutenant Pinkerton, U. S. Navy, is being shown over 
 a house he has leased from Goro, a marriage and real 
 estate agent. They await the arrival of Cho-Cho-San, 
 with whom Pinkerton is about to contract a Japanese mar- 
 riage, when Sharpless, the U. S. Consul, arrives and 
 endeavors to dissuade his friend from the step he is about 
 to undertake. Pinkerton laughs him off. Cho-Cho-San 
 and her friends come and Sharpless learns from the girl 
 that she is so much in earnest about her marriage that she 
 has abjured her faith and become a Christian. How 
 serious this is the Bonze (her uncle) proves, for after 
 much vociferation and cursing, he orders all the relatives 
 out of the house, even Cho-Cho-San's mother. Pinkerton, 
 annoyed, gets rid of the w T hole crew and brings the weep- 
 ing little wife back to good humor. 
 
 ACT II. 
 
 It is now three years later and Pinkerton has long 
 been recalled from his post in the Far East. Cho-Cho- 
 San, who has come to be known as Madame Butterfly, 
 has full faith that Pinkerton intends to keep his word 
 to come back soon, but Suzuki, her maid, is far from 
 
 QT 
 
having the same confidence. Sharpless calls on an un- 
 pleasant errand — the carrying of a message to Butter- 
 fly — that Pinkerton is about to return, but this time 
 with a real wife, an American woman. The sight of 
 a letter from Pinkerton, however, throws Butterfly into 
 such a paroxysm of joy that Sharpless cannot find it in 
 him to tell her the truth. He is relieved by the entrance 
 of Prince Samadori who, aided by Goro, comes to offer 
 Butterfly marriage. She is told that Pinkerton's desertion 
 of her is equivalent to a divorce. In Japan, yes, she says, 
 but not in her country, America, and she refuses to con- 
 sider it. Samadori gone, Sharpless tries again to tell her 
 the truth, but she fetches her little fair boy and, showing 
 him, says: "Won't that be enough to bring him back?" 
 Sharpless finds his task hopeless and goes away. Cannon 
 now announce the arrival of Pinkerton's ship. Butterfly is 
 crazed with joy. She knew he would come back to her. 
 Was there ever a doubt of it? She and Suzuki decorate 
 the house with flowers and themselves and the baby and 
 then watch for Pinkerton to come. Suzuki and the baby 
 soon fall off asleep, but motionless, Butterfly continues 
 to watch and wait for the husband's return to her. 
 
 ACT III. 
 
 The morning has come and Suzuki awakes to find But- 
 terfly still watching. She persuades her to go with her 
 boy and get some rest. Almost at once Pinkerton and 
 Sharpless come in accompanied by Mrs. Pinkerton. 
 Suzuki, amazed, tells them of Butterfly's love, faith, devo- 
 tion. Pinkerton, in a sharp pang of remorse, realizes the 
 harm he has dope and flees. Suzuki is about to go and tell 
 the story when Butterfly, expecting to meet her husband, 
 comes in and learns it for herself. Mrs. Pinkerton offers 
 to take the baby and treat it as her own. Butterfly listens 
 to it all with fortitude and sends a message to Pinkerton, 
 that if he will come himself in half an hour, he can have 
 
 92 
 
the baby. Within the time Pinkerton and Sharpless 
 return. But they find no Butterfly. She has killed herself 
 with her father's sword. 
 
 In his operatization of Belasco and Long's Japanese drama four 
 years ago, Puccini met with his first reverse. When Madame 
 Butterfly was originally produced in Milan its reception was so 
 adverse that the composer sensibly accepted the verdict and with- 
 drew it. He instantly went to work revising the score and spent 
 the best part of two years upon it. Last year it was brought out 
 in its second form and proved successful. Puccini has selected an- 
 other of Belasco's plays, The Girl of the Golden West, as the 
 subject of his next opera. He expects to have it ready for the 
 season of 1909-10. 
 
 93 
 
Manon Lescaut 
 
 A Lyric Drama in Four Acts. 
 
 (From the Romance by V Abbe Prevost.) 
 
 Music by G. Puccini. 
 
 THE CAST. 
 
 Des Grieux. Edmond. 
 
 Lescaut. Dancing Master. 
 
 Geronte. Manon Lescaut. 
 
 ACT I. 
 
 The first scene is at an inn yard at Amiens. Students 
 and girls walk about there, when Des Grieux comes in 
 and is twitted by his friends with having no sweetheart. 
 Just then the stage coach arrives and from it come 
 Geronte, on the one hand, and Lescaut, with Manon, 
 on the other. Des Grieux is immediately struck with 
 Manon's appearance and learns from her that her brother 
 is taking her to a convent, where she is to become a nun. 
 She does not fancy the life and De Grieux begs of her 
 not to embrace it. The upshot is that they make an en- 
 gagement to meet in the inn yard later in the evening. 
 In the meantime Geronte has also taken an ardent fancy 
 to Manon, and he arranges it with the innkeeper that he 
 shall have a chaise and four outside the inn that night at 
 a certain hour, his intention being to abduct Manon. The 
 plot is overheard by one of the students, Edmond, who 
 acquaints Des Grieux with the facts. Thus it happens 
 that when Manon comes down later to meet Des Grieux. 
 while Geronte is at supper and Lescaut is gambling, he 
 tells her of the plan for her abduction and begs her, rather 
 than submit to this, to fly with him. After some hesita- 
 tion she agrees to the plan, and the act ends with Geronte's 
 grief as he watches the two making off in the distance, 
 while the students express their joy. 
 
 04 
 
ACT II. 
 
 We find Manon installed in Geronte's house in Paris. 
 She has grown tired of poverty with Des Grieux, although 
 she still professes the greatest love for him. Her life is 
 now one of riches and luxury, still she cannot bear 
 Geronte, and plainly tells her brother Lescaut so. Lescaut 
 tells her that he knows where to find Des Grieux and 
 promises to bring him secretly to see her. Geronte enters 
 with a crowd of beaux and men of fashion, and a dancing 
 master for Manon, and the dancing lesson takes place, 
 together with an improvised concert, after which Geronte 
 and his friends leave. No sooner have they done so than 
 Des Grieux appears. At first, reproaching Manon for her 
 unfaithfulness, she gradually wins him over, and they are 
 in the midst of a love scene of reconciliation when Geronte 
 suddenly appears. He, of course, upbraids Manon, and 
 she retorts insolently, and tells him plainly that she never 
 cared a jot for him, but had loved Des Grieux all the time. 
 Geronte leaves in a towering passion and pretty soon 
 Lescaut comes in to say that the archers are surrounding 
 the house with the intention of arresting Manon. Ter- 
 rified, she tries to fly with Des Grieux, but they are too 
 late, the archers break dow T n the doors, and, as Manon 
 endeavors to conceal her jewels, Geronte appears and 
 orders her instant arrest and deportation. Des Grieux's 
 tears and threats have no effect. Manon is carried off. 
 
 ACT III. 
 
 Shows the port of Havre. The girls arrive, loaded 
 with chains, a man-of-war is at the quay. Des Grieux 
 and Lescaut are both there in an attempt to rescue Manon 
 from the chain gang. By bribing a sentry Des Grieux 
 succeeds in reaching her prison window and plans an 
 escape that night. Through some misunderstanding, how- 
 ever, it fails. Manon is caught and restored to her place 
 among the wantons. Des Grieux is heartbroken and 
 
 95 
 
endeavors to reach her, even inciting a small riot, but this 
 fails; on the arrival of the captain, the girls are marched 
 aboard and De Grieux, at the last moment, by applying for 
 a place as cabin boy, is permitted to accompany the expedi- 
 tion which sails for the Louisianas. 
 
 ACT IV. 
 
 Des Grieux and Manon are found alone in a vast plain 
 endeavoring to reach some sort of civilization. Manon 
 is worn out with fatigue and Des Grieux endeavors to find 
 shelter and food, but he fails, and comes back to receive 
 the dying Manon in his arms. She dies with words of 
 greatest love for him, while he, frantic with grief, falls 
 senseless upon her body. 
 
 When Manon Lescaut was first produced at Turin in 1893, 
 Verdi was present and said that Puccini was the next big man 
 in Italy and the prediction bids fair to be confirmed by works, 
 though Manon in itself was more a promise than a fulfilment in 
 the light of what he subsequently accomplished. Manon Lescaut 
 is, however, a very charming work. 
 
 96 
 
Crispino e la Comare 
 
 Comic Opera in Three Acts. 
 
 By L. and F. Ricci. 
 
 THE CAST. 
 Crispino Tacchetto Don Asdrubale 
 
 Fabrizio. A Mason. 
 
 MlRABOLANO. ' ANNETTA. 
 
 CONTINO DI FlORE. La COMARE 
 
 ACT I. 
 
 Crispino and Annetta, his wife, are so poor that they 
 owe everybody. Crispino gets no cobbling to do and 
 Annetta has not sold a single song that day. Asdru- 
 bale threatens to put them out for not paying rent. 
 Altogether Crispino is in such a state that he rushes 
 from home to go hang or drown himself, and Annetta 
 follows after. 
 
 Crispino finds himself in a deserted spot where there 
 is a big well into which he is about to throw himself 
 when a Fairy suddenly emerges from it. She tells 
 Crispino that she will make him rich. He is to assume 
 the character of a doctor. If his patient is going to die 
 she will appear by his side. If she does not appear 
 the patient will get well. Before going, the Fairy 
 throws him a bag of gold. Annetta comes in and can- 
 not believe the good luck, and treats him with con- 
 tempt; so at first they .quarrel, but ultimately go ofif 
 rejoicing. 
 
 ACT II. 
 
 Now that Crispino is a full-fledged doctor, they all 
 make fun of him and laugh at the important airs he 
 gives himself. But the Fairy reassures him. A mason 
 is carried in dying from a fall. The two doctors, Fa- 
 brizio and Mirabolano, work over him, but to no pur- 
 
 97 
 
pose, and at last give it up, pronouncing the man dead. 
 Then Crispino, making first sure that no Fairy is 
 around, tells them all that he will save the man. He 
 prescribes some ridiculous things and enrages the doc- 
 tors. Nevertheless, the moribund mason gradually 
 comes to, and the crowd shout "Miracle !" and carry off 
 Crispino on their shoulders. 
 
 ACT III. 
 
 In his palatial abode, rolling in wealth as a result of 
 his many cures, Crispino grows proud and arrogant, 
 ill-treating the wife who has stuck to him through all 
 his adversity. He is even insolent to his good Fairy, 
 so that she takes him down to the centre of the earth, 
 where she tells him that he must die. He is very badly 
 frightened, and is compelled to make his will. He asks 
 as one last favor that he may see his wife and children 
 just once more. He looks in a magic mirror and sees 
 them praying for him. He begs the Fairy then to let 
 him off this once and he will be a good man. The 
 Fairy agrees, and he falls senseless only to awake in 
 the bosom of his family, who had all been wondering 
 at his strange illness. Annetta is full of joy, and Cris- 
 pino promises a genuine reform. The scene is at Ven- 
 ice, in the Seventeenth Century. 
 
 Crispino and the Fairy has proved the only lasting success of 
 several comic operas written by the Ricci Brothers. It was first 
 heard in Venice in the early sixties. It used to be sung here a 
 great deal at the Academy of Music by Clara Louise Kellogg, and 
 it has occasionally been revived by some passing prima donna. 
 
 9 8 
 
The Barber of Seville 
 
 Comic Opera in Two Acts. 
 
 Taken from the French of Beaumarchais. 
 
 Music by Rossini. 
 
 THE CAST. 
 
 Count Alma viva. , Basilio 
 
 Figaro. Rosina. ^%^^/ t 
 
 Doctor Bartolo. Bertha • - 
 
 ACT I. 
 
 The Count Almaviva is very much in love with Ro- 
 sina, the ward of Doctor Bartolo, who himself wants 
 to marry her. Almaviva endeavors to attract her at- 
 tention by means of a serenade, but she gives no sign. 
 Figaro, the barber, offers to speed the Count's love af- 
 fairs and proposes the plan of getting him into Bar- 
 tolo's house as a drunken soldier. In the meantime 
 Rosina, who cannot get an interview with the Count by 
 reason of Bartolo's watchfulness, succeeds in reaching 
 him by means of a note in which she tells him of her 
 dreary life. 
 
 The scene changes to the living room in Bartolo's 
 house. Bartolo tells Basilio, a music teacher, that he is 
 resolved to marry Rosina on the morrow. Figaro, who 
 overhears it, tells Rosina, and she is determined to 
 thwart the plan. The doctor has grown very jealous, 
 and he strongly objects to a drunken soldier being 
 quartered on him. But the Count, who has assumed 
 this disguise, won't take "no" for an answer. He suc- 
 ceeds in getting a few words to Rosina, but such a 
 clamor is raised that an officer and soldiers come in to 
 arrest the Count and take him away. 
 
 ACT II. 
 
 Bartolo, who has found out that there was no such 
 
 99 
 
soldier in the regiment, is more suspicious than ever 
 when the Count comes, this time disguised as a pro- 
 fessor of music sent by Basilio, who is sick. This time 
 he allays Bartolo's doubts, and, while the latter is being 
 shaved by Figaro, the Count, in giving Rosina her 
 music lesson, succeeds in getting her to agree to meet 
 him at midnight. She is to get out by the window. At 
 this moment Basilio arrives, and is astonished to hear 
 that he is sick. But they persuade him that he never 
 looked so badly and get rid of him. A chance remark 
 of the Count, however, persuades Bartolo that he is an 
 impostor, and he is compelled to leave, and Rosina's 
 jealousy is excited against her lover by Bartolo so that 
 she thinks of giving him up. 
 
 In the next scene Rosina appears at the window, and 
 when she is in doubt what to do her lover lets her know 
 that he is the Count Almaviva. When, therefore, the 
 notary comes along with Basilio to marry Rosina to 
 Bartolo, Figaro manages it that she is married to Alma- 
 viva instead, so that when Bartolo comes on the scene 
 with an officer and soldiers and orders their arrest he 
 finds he is too late. Having nothing else to do he sub- 
 mits with the best grace in the world, and the Count 
 takes his bride. 
 
 Strange that only one work of the most prolific of Italian 
 composers and, for a long time considered the greatest, a minor 
 work at that, should now represent Rossini in the repertoire. 
 The Barber of Seville is, however, a perfect work of its kind. 
 William Tell was considered immortal, but it has long been absent 
 from our opera houses, though it has had the largest number of 
 performances of any opera in Paris, nearly nine hundred. In the 
 Barber Rossini adapted the text of an opera of Paisiello's called 
 Almaviva, and the result was that on its first night at the Ar- 
 gentina, Rome, in 1816, Paisiello's adherents almost hissed it off 
 the boards. On the second night, the general public rallied to 
 its support, and routed its adversaries. It has held its place in 
 almost every repertoire since. 
 
 IOO 
 
Samson and Dalilah 
 
 Opera in Three Acts. 
 Music by Camille Saint-Saens. 
 
 THE CAST. 
 
 Samson. Second Philistine. 
 
 The High Priest. Messenger, 
 
 Abimelech. Dalilah. 
 First Philistine. 
 
 ACT I. 
 
 A public square in Gaza with temple of Dago. A 
 crowd of Hebrews outside, among them Samson, prays 
 to be delivered from the yoke of the Philistines. 
 Samson comes on and invokes his brethren to be pa- 
 tient, Jehovah has not forgotten them. He will yet 
 come to their aid. Let them abide in the Lord. The 
 chorus re-echoes his words as Abimelech, the chief of 
 the Philistines, enters, followed by many warriors, and 
 orders the vile slaves to cease their tumult. What sort 
 of god, he asks, is it that they worship compared to 
 the power of Dago. But Samson hurls the words back 
 in his teeth. He says he sees angels with naming 
 swords ready to fall on the foes of Israel. "Break your 
 chains," he cries. Abimelech, sword in hand, rushes 
 on Samson, who wrests the sword from his grasp and 
 fells him as he cries for help. The Philistines come to 
 the aid of their leader, while Samson beats them off, 
 and all gradually pass away. Then the High Priest 
 issues from the temple of Dago and urges the Philis- 
 tine soldiers to fight. They answer that they are over- 
 come by a strange torpor. Messengers come in to say 
 that Samson is everywhere victorious, and the High 
 Priest curses them for cowards. As the body of Abim- 
 elech is carried away Samson returns with his vic- 
 torious host, the temple doors open and Dalilah, with 
 
 toi 
 
many maidens, issues forth. She warmly praises Sam- 
 son and tells him he has earned her love. Samson 
 prays to be delivered from the temptation, and the old 
 Hebrews implore him to beware. Dalilah and the girls 
 dance sinuously before him, and he follows her every 
 motion. 
 
 ACT II. 
 
 Dalilah is alone in front of her house in the Valley of 
 Sorec. She awaits Samson, but he comes not. Instead 
 the High Priest stalks on and urges Dalilah to use all 
 her power and her charm to gain from Samson the 
 secret of his strength. She promises, and the High 
 Priest offers her riches. She spurns these, saying that 
 her hatred is enough. But she may fail, for thrice has 
 she tried. Love is powerful, says the High Priest, but 
 a woman's tears are more powerful still. When he is 
 gone Dalilah wonders whether her influence has 
 waned. Samson comes in hesitating and full of shame, 
 and cursing his love. He tells Dalilah that he has re- 
 solved to break the fetters that hold him. His God 
 commands it. But she employs all her wiles and he 
 becomes her obedient slave again until she asks him 
 in honeyed tones the secret of his strength. He then 
 resists and prays to be delivered from temptation. She 
 persists, and on his repeated refusal weeps and bids 
 him farewell as she enters the door of her dwelling. 
 Samson stays a moment and then rushes after her. 
 Soldiers come on and approach the house as Dalilah 
 cries from the window, "Philistines, to me!" while 
 Samson's voice in answer, "Betrayed!" The soldiers 
 rush the house. 
 
 ACT III. 
 
 In the prison of Gaza. Samson, chained, sightless 
 and shorn, turns a wheel. In the wings the captive He- 
 brews ask him what he has done with his brethren. 
 
 1 02 
 
Samson prays that his people may be saved, but blesses 
 the hand that has stricken him. The Philistines enter 
 the prison and drag Samson out. 
 
 The scene changes to the interior of the temple of 
 Dago. The High Priest and then Dalilah, with a crowd 
 of Philistines of both sexes, celebrate the success of 
 their cause. Samson is led in by a child. They taunt 
 him and ask him to drink to Dalilah. She also mocks 
 him and his love. Does he now remember her ca- 
 resses? The High Priest and Dalilah go to the table 
 and offer sacrifices and give praise to Dago. Samson 
 stands griefstricken while the High Priest asks him 
 what he thinks of his God now. Why does not that 
 God give him back his strength? Samson prays that 
 He may, if only for a moment. He asks the child to 
 lead him between the pillars! When there, with a last 
 appeal to Heaven, he encircles the pillars with his 
 arms. They slowly totter and fall, carrying the temple 
 with them. 
 
 In spite of Saint Saens' great reputation in his own land he 
 was compelled to go to Weimar to get his Samson and Dalilah 
 produced in 1877. Even then Rouen was the first French city to 
 hear it, and the work did not reach the Grand Opera in, Paris 
 until 1892. It was heard at the Metropolitan Opera House during 
 the Grau regime, but was given only two or three times. It 
 proved, of course, to be very musicianly, but was wanting in 
 interest 
 
 103 
 
Salome 
 
 Opera in One Act. 
 Book by Oscar Wilde. Music by Richard Strauss. 
 
 THE CAST. 
 
 Second Soldier. 
 
 The Page of Herodias 
 
 The Jews. 
 
 Naaman, the Executioner. 
 
 Herodias. 
 
 Salome. 
 
 The Slaves of Salome 
 
 Herod Antipas. 
 
 jokanaan. 
 
 The, Young Syrian Captain. 
 
 Tigellinus. 
 
 A Cappadocian. 
 
 A Nubian. 
 
 First Soldier 
 
 ACT I. 
 
 MARY GARDEN. 
 
 A great terrace in the 
 Palace of Herod. A 
 banquet takes place 
 within. Two soldiers, 
 a page of Herodias and 
 a young Syrian captain, 
 who loves Salome, talk 
 and tell that Herod is 
 drinking deep of wine 
 and looking a great 
 deal at Salome. The 
 voice of Jokanaan is 
 heard coming from a 
 cistern in which he is 
 kept a prisoner. Herod 
 has forbidden that any- 
 one speak to him. The 
 Princess Salome enters, 
 weary of the banquet. 
 The young Syrian Cap- 
 tain accosts her. She 
 hears the voice of Joka- 
 naan denouncing her 
 mother, Herodias, and 
 
 104 
 
as the young Captain urges her to return she in- 
 sists on seeing the Prophet. But the soldiers refuse to 
 obey her, saying it is the order of Herod. She then 
 appeals to the young Captain and cajoles him until he 
 at length orders that Jokanaan shall be brought. He 
 inspires in Salome by his rigid asceticism a most un- 
 holy lust. She wants to touch his flesh, his hair, and 
 she begs for a kiss from his lips. But he stands proud- 
 ly aloof and anathematizes her. Alternately she reviles 
 and implores him, and so continues to ask for a kiss 
 that the young Syrian Captain kills himself. But she 
 continues to plead to the Prophet until in disgust he 
 goes to his well again. Then enters Herod and the 
 court. He asks for Salome, and Herodias reproaches 
 him for casting everlasting eyes on her daughter. The 
 Jews begin and keep up their disputations and make 
 Herodias inexpressibly weary, while Herod asks Sa- 
 lome to drink and eat with him and she refuses. Herod 
 asks Salome to dance before him, and urged by her 
 mother she refuses, though Herod offers her half his 
 kingdom and then in detail his jewels, his peacocks, 
 his most precious possessions. She asks him to sweat- 
 that he will give whatever she asks and he takes a 
 solemn oath to do so. She then dances the dance of 
 the Seven Veils, and in defiance of Herodias he gives 
 her rapt attention. When he asks what shall be the 
 reward she demands the head of Jokanaan on a silver 
 platter. He rebels at this, and tells her to ask for any- 
 thing else in the world. But Salome insists all the 
 more that Heriodas urges her on. Herod tries by ev- 
 ery possible promise to divert her, but she holds him to 
 his oath, and at last giving way he yields the ring of 
 death and Naaman, the Executioner, goes down in the 
 cistern and as Salome frets him on, reappears with 
 the head of Jokanaan, which he hands to her on a silver 
 
 105 
 
shield. She gloats over her ghastly possession, so that 
 even Herod is shocked, and, as Salome exclaimed that 
 she has kissed its lips, the King going hastily away, 
 gives the order to kill her. The soldiers rush forward 
 and crush her beneath their shields. 
 
 The single performance of Salome at the Metropolitan and its 
 subsequent rejection by the owners of the house, spite of a gen- 
 erally favorable reception by the press, are still too fresh in the 
 public mind to need recapitulation. London is the only capital 
 outside of New York that has placed a ban on the work. Else 
 where it has been very successful, though the succcess has been 
 rather of a sensational than a lasting kind. 
 
 106 
 
Aida 
 
 Grand Opera in Four Acts. 
 By Giuseppe Verdi. 
 
 THE CAST. 
 
 Aida, Soprano. Amonastro, Baritone. 
 
 Amneris, Contralto. Ramfis, Bass. 
 
 Rhadames, Tenor. King of Egypt, Bass. 
 
 ACT I. 
 
 A hall in the King of Egypt's palace. Rhadames, a 
 young captain, loves Aida, a captive princess of Ethio- 
 pia. On the other hand Amneris, daughter of the King, 
 loves him and is wrought to cruel jealousy as she sus- 
 pects he prefers Aida. The king enters, followed by 
 guards, priests and by Ramfis, the high priest, to learn 
 that the Ethiopian army has invaded Egypt and is com- 
 manded by Amonastro their king. The gods have just 
 selected Rhadames to lead the Egyptian host. All re- 
 joice except Aida, who is torn by conflicting emotions 
 of affection for her father, Amonastro, leader of one 
 army, and love for Rhadames, who leads the other. 
 Scene second shows the Temple of Vulcan, where Rha- 
 dames is invested with his command and takes the oath. 
 
 ACT II. 
 
 The apartment of Amneris. She is surrounded by 
 slaves and dancers and pretends great affection for Aida. 
 The latter is grieving over the fate of Rhadames and lets 
 out her secret to Amneris, who is furious and orders Aida 
 to follow her to the festival in honor of the return of the 
 victorious army, where she shall be humiliated as a slave 
 for daring to pretend to rivalry with the king's daughter. 
 Aida is willing to die. The second scene of this act shows 
 the entrance to the city of Thebes. The king enters with 
 his captains, councilors and priests, Aida and Amneris. 
 
 107 
 
Then comes the triumphal entry of the troops, followed 
 by Rhadames, who is crowned victor. The prisoners are 
 then brought in. Among them Aida recognizes Amonas- 
 tro, the king, her father, but he tells her not to betray his 
 rank. The priests demand that the prisoners be put to 
 death. The populace cry mercy and the king wavers. 
 Rhadames asks as his reward that the prisoners be spared, 
 and the king promises him not that alone but the hand of 
 Amneris as well. 
 
 ACT III. 
 
 A night scene on the Nile. Amneris accompanies Ram- 
 fis to worship in the Temple of Isis on the eve of her 
 nuptials. They go within. Aida arrives secretly to meet 
 Rhadames before meeting death in the river herself. Am- 
 onastro comes to request his daughter to discover from 
 the man who loves her the route the Egyptians will take 
 to meet a new Ethiopian army now coming. If he knew 
 this he could be in time to overwhelm Egpyt. Aida re- 
 fuses to so basely betray Rhadames. Her father urges 
 her to think of her country and kindred crushed under 
 Egypt's heel. Aida, shaken by his pleading, receives Rha- 
 dames coldly when he comes, and tells him to go rejoin 
 Amneris. Stung by her reproaches he agrees to leave 
 Amneris and fly with her. He tells her how they will 
 avoid the Egyptians on the way and Amonastro, coming 
 in, overhears the revelation. Rhadames now learns that 
 the father of Aida is King of the Ethiopians and knows 
 that he has betrayed himself. As he is overwhelmed by 
 the thought Amneris and Ramfis with their guards enter 
 from the temple. Rhadames orders Amonastro and Aida 
 to fly and she urges him to join them. But no, he will 
 stay and suffer. The guards start in pursuit of the others. 
 
 ACT IV. 
 
 Hall in the palace with entrance to subterranean hall of 
 judgment. Amneris seeks to save Rhadames, though he 
 
 108 
 
has incurred death by revealing a state secret- As Rha- 
 dames is brought in she implores him to exculpate himself. 
 But he refuses to do so. Though not intending to do 
 wrong he had nevertheless betrayed his country and de- 
 served to die, and now that Aida has been sacrificed — 
 Amneris tells him that Aida lives, though her father was 
 killed. If he will renounce her she will yet save him. 
 He still refuses and she, maddened, tells him to go to his 
 death. The priests headed by Ramfis file in to the judg- 
 ment hall and Rhadames makes no defense. He is con- 
 demned to be buried alive. Amneris pleads again but is 
 repulsed. 
 
 The second scene shows the temple above. 
 
 109 
 
Falstaff 
 
 Opera in Three Acts. 
 
 Taken from the Merry Wives of Windsor. 
 
 Words by Arrigo Boito. Music by G. Verdi. 
 
 THE CAST. 
 
 Sir John Falstaff. Pistol. 
 
 Fenton. Mistress Ford. 
 
 Ford. Anne. 
 
 Dr. Caius. Mistress Page. 
 
 Bardolph. Dame Quickly. 
 
 ACT I. 
 
 Falstaff is enjoying himself in his inn at Windsor 
 in company with his cronies, Bardolph and Pistol. He 
 has just written a couple of love letters to two spright- 
 ly gentlewomen of the town, Mistress Ford and Mis- 
 tress Page. Neither of his retainers cares to be the 
 go between in the affair, and a boy, Robin, is sent to 
 bear the missives. Dr. Caius complains that he has been 
 robbed by Bardolph and Pistol. 
 
 SCENE TWO. A garden attached to Ford's house. 
 Mrs. Ford and Mrs. Page meet together with Dame 
 Quickly. They compare notes, and find that FalstafFs 
 two notes are couched in precisely the same language, 
 and, after a bit of laughter, they seek some way of re- 
 venge on the fat knight and with the help of Dame 
 Quickly resolve to douse him in the river. Fenton 
 is in love with Anne, and they meet and make mutual 
 vows. Anne complains that her father wants her to 
 marry Dr. Caius, but her mother promises that she shall 
 have the man of her choice. Bardolph and Pistol come 
 to tell Ford of FalstafFs designs on his wife, and Ford 
 resolves to have his vengeance, too, and it is arranged 
 that he shall be introduced to Falstaff under some 
 
 1 10 
 
other name. The women arrange that Dame Quickly 
 shall go to Falstaff and make an appointment that he 
 shall meet them on the morrow. 
 
 ACT II. 
 
 Falstaff is at the inn, and Dame Quickly comes with 
 the note making the appointment at two that day and 
 the knight is overjoyed. Ford is announced under the 
 name of Fountain. He pretends that he comes to ask 
 Falstaff to aid him in his hopeless quest of Mistress 
 Ford, and Falstaff agrees to do it all the readier that 
 he has appointment with the lady that afternoon while 
 her husband is away. This news astounds Ford, who 
 believes that his wife is deceiving him after all. He 
 raves with jealousy and Falstaff goes to don his best 
 attire. But they depart together. 
 
 SCENE TWO. A parlor in Ford's house. The women 
 have prepared everything for Falstaff's reception, par- 
 ticularly a large basket of soiled linen. When the fat 
 knight arrives he at once begins making love to Mis- 
 tress Ford, and she alternately encourages and repulses 
 him, until Dame Quickly bustles in to say that Ford is 
 coming in great haste. She thinks it only an alarm 
 for Falstaff, but finds it only too true. She conceals 
 the knight behind the screen and composes things as 
 Ford's voice is heard and he enters with Caius, Bar- 
 dolph and Pistol, giving orders to search everywhere 
 for the scoundrel. He himself examines the basket. 
 He rushes out frantic, and as he does so Falstaff runs 
 from behind the screen and squeezes into the basket, 
 while Dame Quickly and Mrs. Ford cover him with 
 the soiled linen. Fenton now comes in with Anne, and 
 the better to be quiet they hide behind the screen while 
 Ford and the others return, still looking for Falstaff. 
 Ford pitches on the screen as the place, and they stir- 
 
 in 
 
round and overturn it only to their disgust to find the 
 young lovers, but the men again rush off looking for 
 Falstaff. He, half suffocated, prays to be released, 
 and Mistress Ford calls in the servants to carry the 
 basket away. They take it to the window, balance it 
 a moment and throw it into the river. A loud shout is 
 heard and Mistress Ford takes her husband to the win- 
 dow rapidly to show him the fate of the gallant knight, 
 
 ACT III. 
 
 Dame Quickly comes to the inn to express to Sir 
 John the sorrow of Mrs. Ford over the occurrences of 
 the day and to make a new appointment with him in 
 Windsor Forest that night. The vain old knight falls 
 into the trap again. The three other women overhear 
 the conservation and make their plans, and Ford is 
 taken into the secret this time. Dame Quickly then 
 hears Ford promise Dr. Caius to let him have Anne 
 for wife at once and runs to tell the others. 
 
 SCENE TWO. Windsor Park. Fenton and Anne 
 arrive and pledge anew their vows. Then Mrs. Ford 
 comes and puts a mask and cloak on Fenton and 
 Dame Quickly is invested with a broomstick. Falstaff 
 now arrives and meets Mrs. Ford. He begins his pro- 
 testations of undying love, when they are interrupted 
 by Mrs. Page rushing in to cry that the witches are 
 coming. Sir John betrays the most abject fear and 
 falls to the ground, burying his face as the fairies enter 
 led by Nan. Then Bardolph, Pistol, Ford and others 
 fall to belaboring Falstaff until he cries for mercy, but 
 in the melee he recognizes Bardolph and this restores 
 his courage. Then Falstaff owns up to his errors and 
 Ford and he make friends. Bardolph comes in as the 
 Fairy Queen, hand in hand with Dr. Caius and Mrs. 
 Ford, leads forth Anne disguised as a nymph and Fen- 
 
 112 
 
ton in his cloak and mask. Ford unites the two cou- 
 ples. They then all unmask to the astonishment of Dr. 
 Caius and the grief of Ford, who finds he has married 
 his daughter to the wrong man. But he relents as he 
 finds there are other dupes beside himself. 
 
 Falstaff was the last of the prodigious number of operas that 
 Verdi wrote. It was produced on several occasions at the Metro- 
 politan by Maurice Grau with Victor Maurel in the title role, but 
 failed at that time to achieve much popularity. Tt is armoutiee«i 
 at both houses this season. 
 
 "3 
 
// Ballo in Maschera 
 
 (The Masked Ball) 
 Music by Verdi. 
 
 THE CAST. 
 
 Richard, Governor of Boston. Amelia. 
 
 Rein hart, his Secretary. Ulrica. 
 
 Tom, UE1 " }Conspirators: Oscar, a 
 
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 TRENTINI. 
 
 him in a visit to the sorceress. 
 
 I. \ 
 
 Richard, Earl of War- 
 wick and Governor o£ 
 Boston, receives Rein- 
 hart, his secretary, who 
 tells him of a conspiracy 
 to take his life, but Rich- 
 ard treats the matter 
 lightly, though he loves 
 Reinhart's wife, the purt 
 and stately Amelia, and 
 feels that he is betraying 
 the friendship this man 
 feels for him. A judge 
 is introduced who wants 
 Ulrica, a sorceress, ban- 
 ished, but Oscar, the 
 page, undertakes to de- 
 fend her, and the upshot 
 is that Richard deter- 
 mines to see her for him- 
 self and invites all to join 
 
 ACT II. 
 
 At the home of the sorc:eress. Richard, disguised, and 
 
his friends are there when a lady is announced, Richard, 
 who conceals himself, recognizes in her Amelia, the 
 woman he loves. She has come to seek some charm to 
 enable her to throw off the love she feels for Richard. 
 Ulrica tells her that to do so she must go herself at mid- 
 night and, under the public gibbet, pluck a certain herb. 
 This only can cure her. Richard, who has overheard, 
 resolves to be there, too. When Amelia departs Richard 
 has his own fortune told, and it is that he will die through 
 the agency of his nearest friend, and the one who first 
 shakes his hand. Reinhart, who has heard that the con- 
 spirators surround his master, rushes in at this moment 
 and seizes Richard's hand. The conspirators, afraid too 
 many are present, do not act, but cheer the Governor. 
 
 ACT III. 
 
 The gibbet heath near Boston. Amelia is there, horror 
 stricken at her task. But it is forgotten when Richard 
 comes to plead his love. She confesses she does love him, 
 but duty is strong to her husband, Richard's best friend. 
 Somebody comes. It proves to be Reinhart, who is there 
 to warn Richard that his enemies are following him. 
 They exchange cloaks, and Richard, confiding the veiled 
 lady to Reinhart's charge, escapes. The conspirators 
 come on and wish to kill Reinhart, believing him to be 
 Richard. A scuffle ensues before they discover their mis- 
 take, but, in the meantime, the veil has been snatched 
 from the mysterious lady, and, to Reinhart's consterna- 
 tion, she proves to be his wife. Instantly his love for 
 Richard turns to intense hate and he joins the conspiracy. 
 
 ACT IV. 
 
 Amelia and Reinhart are together in his study. He 
 bitterly reproaches her, but she denies all guilt. When 
 she is gone Tom and Sam enter and it is resolved to draw 
 lots as to who shall kill the Governor. Amelia is called 
 
 US 
 
in and is compelled to draw the fatal ballot. It falls to 
 Reinhart. Just then Oscar arrives with an invitation for 
 the Governor's masked ball that night. Amelia is in 
 terror, knowing the purpose of her husband. 
 
 The second scene is the masked ball. Richard is again 
 warned, but pays no heed. Reinhart seeks him in his 
 disguise, but Amelia knows him and bids him fly. He 
 still won't listen, but tells Amelia that to save her and 
 put both out of the range of temptation he was sending 
 her husband and herself back to England. At this mo- 
 ment Reinhart, crazed by hate and jealousy, stabs Richard. 
 Dying, the latter tells of Amelia's purity and of his own 
 resolve to send both away. Reinhart is overcome with 
 regret and grief. Richard pardons him. 
 
 The Ballo in Maschera produced at Rome in\ 1859, one of 
 Verdi's minor successes, would probably have scored a greater 
 one, especially in English-speaking countries, had it not been 
 for the absurdity of the story's locale. This story, however, 
 hinged on the assassination of a ruler. Napoleon III. was 
 then the protector of Rome and his life had been attempted 
 by Orsini but a short time before. As the Ballo was to be 
 produced in Rome, the censorship insisted that this incident 
 be excised. As this was manifestly impossible, without destroy- 
 ing the whole scheme of the work, a compromise was effected 
 by transferring the scene to Boston, in America, which was far 
 enough away not to matter. Thus the Earl of Warwick, Governor, 
 and "Sam" and "Tom," distinguished conspirators. 
 
 116 
 
// Trovatore 
 
 Manrico. 
 Count di Luna. 
 Ferrando. 
 Ruiz. 
 
 Grand Opera in Four Acts. 
 Music by Giuseppe Verdi. 
 
 THE CAST. 
 
 Leonora. 
 
 Inez, her companion. 
 
 Azucena, a Gypsy. 
 
 ACT I, 
 
 Ferrando tells the 
 followers of the Count 
 di Luna how a gypsy 
 woman had stolen in 
 childhood the younger 
 brother of the Count. 
 The witch had been 
 burned, but no news 
 had ever come of the 
 child, and the witch's 
 daughter was known to 
 be still alive. 
 
 In the second scene 
 Leonora awaits the 
 coming of Manrico. In- 
 stead of him Di Luna, 
 who also loves Leo- 
 nora, comes in his place 
 and, in the dark, Leo- 
 nora mistakes him for 
 Manrico. The latter, 
 coming in, believes 
 himself betrayed, but 
 Leonora, recognizing 
 his voice, speedily undeceives him. Her evident prefer- 
 
 117 
 
 GERVILLE-REACHE. 
 
ence maddens the Count, and they draw their swords. 
 Leonora, of course, swoons. 
 
 ACT II. 
 
 The Gypsy Camp. Manrico, wounded, lies beside 
 Azucena, his supposed mother. After the gypsies go 
 she tells Manrico that he is not her son as he thought, 
 but, despite his entreaties, refuses to let him know his 
 parentage. Just then a message comes from Ruiz, Man- 
 rico's lieutenant, that Castellar is besieged by Di Luna and 
 that Leonora, believing him dead, is about to take the veil. 
 Manrico, despite Azucena's entreaties, hurries away. 
 
 The second scene shows the cloisters of a convent. 
 Di Luna is there with his followers intending to seize 
 Leonora and carry her off. Ferrando advises against 
 so rash a deed. A chorus of nuns is heard, and Leonora 
 enters, about to take the veil. Di Luna seizes her, but 
 at this moment Manrico rushes in and effects a rescue. 
 Their surprise is the greater that they believed him dead. 
 The Count is compelled to retreat, his forces being the 
 weaker, and Manrico leads Leonora away. 
 
 ACT III. 
 
 In the camp of Di Luna. Azucena, who has been 
 captured by his men, is brought in and Di Luna finds out 
 that she is the reputed mother of Manrico, and Ferrando 
 accuses her of being the murderess of the Count's young 
 brother. She denies it, but is ordered off to the torture, 
 so to make her confess. 
 
 The second scene is in the convent, and Manrico and 
 Leonora are happily together and about to be married 
 when Ruiz enters to announce that Azucena is a prisoner 
 and about to be tortured. Manrico hastily bidding Leo- 
 nora farewell, dons his armor and rushes off to the rescue. 
 
 ACT IV. 
 
 Manrico has been taken prisoner. The scene is the 
 
 118 
 
outside of the tower where he is confined. Leonora, who, 
 with Ruiz, has come to the scene, hears the Miserere and 
 knows it means death. The Count appears, and Leonora 
 pleads for Manrico. He refuses until Leonora makes the 
 offer of herself. But at the same moment she takes poison 
 and they enter the castle together. 
 
 The second scene is the prison. Azucena sleeps and 
 dreams, expecting death. Manrico sees Leonora come 
 in, telling him to fly. He suspects she has sold her love 
 and reviles her. But he soon learns of the poison and 
 sees her die. Di Luna arrives to find his vengeance 
 foiled and orders Manrico to the block. As his head 
 falls the dying Azucena tells Di Luna that he has killed 
 his own brother. 
 
 It may be fairly taken for granted that II Trovatore has proven 
 itself the most generally popular of all Italian operas. It has 
 been sung many more times than any other since its first produc- 
 tion at the Apollo, Rome, in January, 1853. Coming so soon 
 after Rigoletto, and surpassing even that in popularity, Verdi 
 began from this time to dispute supremacy with Rossini, then dic- 
 tator of Italy in musical matters. 
 
 119 
 
La Traviata 
 
 Opera in Four Acts. 
 
 (From the French of Alexandre Dumas, Fils.) 
 
 Music by G. Verdi. 
 
 THE CAST. 
 
 Marquis d'Aubigny. 
 The Doctor. 
 
 VlOLETT A V ALER V . 
 
 Flora Bervoix. 
 
 Annua. 
 
 ACT I. 
 
 Alfred Germont. 
 
 Germont, the father 
 
 Giorgio. 
 
 Gaston. 
 
 Baron Duphol 
 
 There is a party and 
 supper at the house of 
 Violetta Valery in Paris. 
 For the first time Alfred 
 Germont is a guest 
 there, and he finds him- 
 self taking a sudden and 
 deep interest in the mis- 
 tress of the house. Sor- 
 row for her dissolute life 
 mingles with a stronger 
 sympathy for her beau- 
 ty and accomplishments. 
 He is affected also by her 
 weak state of health. The 
 interest he takes in her 
 is made so evident in an 
 interview he has with 
 her, while all the other 
 guests are dancing in 
 an adjoining room, that 
 it awakens a reciprocal 
 feeling in her which soon 
 develops into love on both sides, a pure flame, to which 
 shethas been a stranger hitherto and which transports him. 
 
 1 20 
 
 ZENATELLO. 
 
ACT II. 
 
 This finds Alfred and Violetta ensconced in a villa near 
 Paris, living in perfect happiness. A chance question of 
 Alfred to Annita, Violetta's maid, reveals to him that 
 she has just come from Paris, whither she had been 
 sent to dispose of her mistress' house, horses and other 
 property, to pay the expenses of this country existence. 
 The enormity of his position suddenly bursts upon Al- 
 fred, and he rushes off to Paris to raise funds himself. 
 Violetta is wondering at his hasty departure when she 
 is confronted by a visitor. It is Germont, Alfred's 
 father, who pleads with her to give up his son, whose 
 infatuation is not only ruining his own career, but 
 is bringing disaster upon his sister, whose noble in- 
 tended had threatened to break off the match as 
 a result of this scandal. Violetta, though with death in 
 her heart, is much impressed by these arguments and 
 finally resolves that she loves Alfred enough to give him 
 up. She promises Germont to do so and writes Alfred a 
 letter of farewell, which he is thunderstruck to receive on 
 his return from Paris. Nor is he appeased by his father's 
 remonstrances, but totally disregarding them, in a fit of 
 fury flies off to Paris again, this time in the track of the 
 apparently faithless one. 
 
 ACT III. 
 
 At fete at Flora's. Violetta is there, on the arm of the 
 Baron. She is frightened at the arrival of Alfred, who 
 immediately begins playing for high stakes and win- 
 ning. He plays against the Baron and wins again. 
 Alone with Violetta he demands that she return to 
 him, and when she refuses calls them all back and says 
 that he wants them to witness that he has paid his 
 mistress. He throws his money at Violetta's feet and 
 is challenged by the Baron, whom he insults. Violetta 
 is fainting, and there is general confusion when Ger- 
 
 121 
 
mont enters, and, after upbraiding his son for his heart- 
 less conduct, leads him away. 
 
 ACT IV. 
 
 Violetta's room. She has been sleeping, but awakes 
 to receive the doctor, who gives no hope. Violetta, 
 when the doctor goes, reads a letter from Germont that 
 says the Baron has been wounded in the fight with 
 Alfred, While she laments her own fate, Annita joy- 
 fully brings in Alfred. In the interview that follows 
 all the old love springs up afresh in both hearts. Alfred 
 promises never to leave her any more. But the sudden 
 joy is too much. Violetta rapidly sinks, and after ex- 
 pressing hopes of happiness to the very last, she dies 
 in her lover's arms, Germont and Annita and the doctor 
 weeping at her side. 
 
 Verdi's success came about this time with bewildering rapidity. 
 Trovatore had only been known for six weeks when La Traviata 
 was produced at the Fenice, in Venice, in 1853. It must have 
 been written very rapidly, for it came almost immediately after the 
 appearance of Alexander Dumas, Fils', La Dame Aux Camelias 
 (Camille), of which it was a musical version. From this time 
 there was no further question as to Verdi's commanding position 
 in the music world. It is noteworthy that he took his honors very 
 modestly. 
 
 122 
 
Otello 
 
 Libretto by Arrigo Boito. 
 Music by G. Verdi. 
 
 THE CAST. 
 
 Otello. Montano. 
 
 Iago. Ludovico. 
 
 Cassio. Desdemona. 
 
 Roderigo. Emilia. 
 
 ACT I. 
 
 The opera follows Shakespeare's play very closely, 
 often textually, only that the first act, including the 
 Senate scene, is omitted. 
 
 The opera begins with the arrival of Otello in 
 Cyprus and the successful endeavor of Iago to get 
 Cassio drunk; his use of Roderigo for that purpose 
 and to nag Cassio on to fight. In the midst of the broil 
 Montano is wounded. Otello comes on, and seeing 
 Cassio's condition deposes him as his lieutenant. Des- 
 demona has followed her lord from the Castle. She 
 and Otello, when all the others are gone, have a love 
 scene, and the act closes. 
 
 ACT II. 
 
 Iago urges Cassio to get Desdemona to importune 
 Otello for his pardon. Cassio goes straightway to 
 Desdemona, and when Otello comes on Iago begins to 
 instill the first suspicions in the Moor's mind against 
 his wife's faith. Albanian and Cypriote sailors and 
 their women come in here to make offerings to Des- 
 demona. When this is over Desdemona pleads for 
 Cassio. Otello is on fire at once, and when she wishes 
 to tie a handkerchief about his head he angrily throws 
 it away. Iago's wife, Emilia, picks it up, and when 
 Iago demands it refuses to give it. But he snatches it 
 away from her. Otello now is quite convinced that 
 
 123 
 
Desdemona is no longer true, and as Iago still nags 
 him with innuendos, he flies into an uncontrollable fit 
 of rage, curses his fate, reviles Cassio, and stung to 
 madness by Iago seizes him by the throat and throws 
 him down. But Iago goes on feeding his wrath and 
 tells him of having heard Cassio, in his sleep, speak 
 fondest words to Desdemona, and when Otello cries 
 "Monstrous !" goes on to say that he has seen in Cas- 
 sio's hand the very handkerchief that he, Otello, had 
 given to Desdemona. Otello kneels and swears to be 
 avenged. Iago swears to help him. 
 
 ACT III. 
 
 A herald announces the arrival of the Venetian am- 
 bassador. Desdemona comes to greet her husband 
 guilelessly, but he sees in whatever she says a proof of 
 guilt. She again speaks for Cassio. He is angry at 
 once, and asks for the handkerchief. She has it not, 
 and he bids her go fetch it. She says this is only a trick 
 to put off Cassio's suit. Mad again, he calls her a 
 strumpet. She, kneeling, vows that she is honest, but 
 he will not believe it, and pushes her out of the room. 
 Alone, he works up his own bile, when Iago comes, 
 preceding Cassio, and Otello takes a position to listen. 
 Iago so w r orks that Otello hears little. Cassio is 
 merely telling Iago that he cannot say how the hand- 
 kerchief came to be in his room, but he kisses it with 
 respect, and this is proof enough of guilt for the in- 
 sanely jealous Moor. A cannon is heard and the dig- 
 nitaries from Venice enter. Ludovico hands Otello a 
 command. While he reads that Cassio is appointed 
 Governor in his place he is about to strike Desdemona, 
 and when Ludovico begs him instead to comfort her. 
 he seizes her so brutally that she falls. All commis- 
 erate her. Otello gets Iago's promise to dispatch Cas- 
 sio (Iago gives the job to Roderigo) and then, wild 
 
with rage, orders everybody out of the room, Alone 
 with Iago he swoons. The people outside shout "Hail 
 to the Lion I" Iago points to the prostrate form, say- 
 ing "Here is the lion !" 
 
 ACT IV. 
 
 Desdemona sits with Emilia and is sad. She sings 
 the Willow song, and when alone prays for mercy. 
 Otello enters and tells her to prepare for death. He 
 brings Cassio up again. She denies vehemently that 
 he was ever anything to her. While she cries out he 
 suffocates her. There is a knocking at the door, and 
 Emilia rushes in to say Cassio has killed Roderigo. 
 Then she discovers Desdemona dead and alarms the 
 palace. Ludovico, Cassio, Iago and others come, and 
 Emilia unmasks Iago. He runs out. Ludovico de- 
 mands Otello's sword, and. as he gives it up and goes 
 to the bed to contemplate Desdemona, he draws his 
 dagger and kills himself, then falls over on the bed 
 against her. 
 
 Otello is the most advanced example of Verdi's later style, 
 and it shows how much he had fallen under the influence of 
 the modern German school, a change the more remarkable that 
 it took place when he was seventy-four years of age. Otello 
 was first produced at the Scala Milan in 1887, being followed 
 by Falstaff, his last opera. 
 
 125 
 
Rigoletto 
 
 Grand Opera in Four Acts. 
 Music by G. Verdi. 
 
 PERSONAGES. 
 
 Duke of Mantua. Monterone. 
 
 Rigoletto. Gilda. 
 
 Sparafucile. Maddalena. 
 
 Ceprano. Giovanna. 
 
 ACT I. 
 
 The story is taken from Victor Hugo's "Le Roi 
 S'amuse." The Duke of Mantua is a profligate ruler 
 and his subservient courtiers alternately blame and 
 lend their aid to his amours. They are specially bitter 
 against Rigoletto, the Duke's jester, for helping his 
 master in the pursuit of their wives and daughters. In 
 the first act in the ducal palace the jester abets the 
 Duke's project to carry on an intrigue with the Coun- 
 tess Ceprano, which so enrages the Count that he 
 makes an appointment with twelve other courtiers to 
 meet him secretly the next night to be revenged on 
 Rigoletto. At the close of a dance Count Monterone 
 enters to upbraid the Duke for having debauched his 
 daughter. Rigoletto mocks him. Monterone turns 
 upon both and utters a parent's curse on Duke and 
 jester. The Duke orders the arrest of Monterone, but 
 upon Rigoletto the father's curse is terrifying. He 
 quails before it. 
 
 ACT II. 
 
 This occurs at the house of Rigoletto in a retired 
 street. He arrives with Sparafucile, who offers to kill 
 any one who may be in his path for a price. Rigoletto 
 has no need of him just now, and the murderer departs. 
 The jester lets himself into his garden by a small gate 
 
 T26 
 
in the wall,, and Gilda, his daughter, greets him. She 
 is Rigoletto's only joy. He questions her closely as 
 to whether she ever sees any one. No, she answers, 
 she never even goes out except to church with Gio- 
 vanna, her woman. Giovanna tells him the same story. 
 After the strictest injunctions Rigoletto leaves. As 
 he opens the gate the Duke slips in, in the dark. Gilda 
 believes him to be a student, and meeting him at 
 church has begun to love him. He gets this avowal 
 from her and promises her the utmost fidelity. Fear- 
 ing the return of her father, Gilda urges him regretfully 
 to go. As he disappears the courtiers, disguised, led 
 by Ceprano, come in masked to abduct Rigoletto's mis- 
 tress, as they suppose. Meeting Rigoletto, who is sus- 
 picious, they tell him they have come for the Countess 
 Ceprano and ask him to help. He readily consents and 
 holds the ladder while they climb in, seize Gilda and 
 bear her away. Suddenly he hears a cry for help, rec- 
 ognizes the voice and, pulling the bandage from his 
 eyes, realizes that his daughter is gone. "The curse!'' 
 he cries, and falls senseless. 
 
 ACT III. 
 
 A reception room in the palace. The Duke wonders 
 at the disappearance of Gilda. Who has dared to steal 
 her away? Ceprano and the others enter to tell him 
 that they have carried off Rigoletto' s mistress. The 
 Duke knows that this must be Gilda, and when he 
 learns that she is in the palace he hurries away to 
 meet her. Rigoletto, pretending indifference, comes in 
 and watches furtively for any sign that will betray his 
 daughter's fate. He overhears that she is with the 
 Duke and moves to go out. The courtiers oppose his 
 egress. He then pleads with them, saying it is a father 
 begging for his child. But they still prevent his going 
 and thrust him back violently. He implores and 
 
 127 
 
grovels to them when Gilda enters and rushes to her 
 father's arms. Left together, she tells him of her meet- 
 ings with the young student whom she learned to love. 
 Then came men to bear her away, and then the shame. 
 Rigoletto bemoans the fate that has befallen her. They 
 must go away — get lost. Here guards enter taking 
 Monterone to prison. He stops a moment to say that 
 curses on the Duke are of no avail— -he is happy yet. 
 Not so, says Rigoletto, th^y both shall be avenged, a 
 fatal blow shall fall. Gilda pleads for mercy. She still 
 loves the Duke. 
 
 ACT IV. 
 
 Rigoletto is maddened that Gilda can still profess 
 any affection for the author of their woes. They are on 
 the common between the river and the ricketty wall 
 surrounding Sparafucile's house. Her father tells her 
 to satisfy herself by looking through a crevice in the 
 door. There she sees the Duke making love to Mad- 
 dalena, Sparafucile's sister and decoy. Gilda is over- 
 come and her father tells her to go dress in boy's 
 clothes and they will ride to Verona.. Rigoletto then 
 makes his bargain with Sparafucile to kill the Duke. 
 The latter, after his passage with Maddalena, tells Spa- 
 rafucile that he will avoid the storm by remaining the 
 night. He goes upstairs to bed and then Maddalena 
 begs her brother not to kill him. He is young and 
 handsome and she likes him. Sparafucile answers that 
 a bargain's a bargain, but he adds, as Gilda returns 
 as a boy and again listens at the door, if any stranger 
 should happen along on this stormy night, he shall be 
 killed instead. At this Gilda's love for the Duke bursts 
 out afresh and she resolves to sacrifice herself in his 
 stead. She knocks at the door, asking for shelter. Mad- 
 dalena opens as Sparafucile se ; zes Gilda and stabs her 
 to death. Soon after Rigoletto returns to demand his 
 
 128 
 
victim. The murderer brmgs out a sack, throws it at 
 his feet, and gets his money. Rigoletto gloats over his 
 vengeance, but suddenly hears the voice of the Duke 
 and sees him pass in the rear. Tearing open the sack 
 he utters a great cry, and falls stunned over his 
 daughter's body. 
 
 Giuseppe Verdi, who was born in 1813, after writing a number 
 of operas which obtained little more than local reputation, first 
 made a solid name for himself by the production of Rigoletto at 
 the Fenice Theatre in Venice in 1851. It still remains one of hi^ 
 best, and most frequently sung, works. At the original perform- 
 ance the audience went delirious with enthusiasm and Verdi's 
 name soon became know:] all over the world It has never since 
 been forgotten. 
 
 199 
 
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INDEX 
 
 Bellini — 
 
 La Sonnambula 5 
 
 Bizet — 
 
 Carmen 7 
 
 Les Pecheurs de Pedes 10 
 
 Blockx — 
 
 Princesse d'Auberge 13 
 
 Breton — 
 
 Dolores 17 
 
 Charpentier — 
 
 Louise 21 
 
 I )KBUSSY — 
 
 Pelleas and Melisande 25 
 
 Donizetti — 
 
 La Fille du Regiment 30 
 
 Linda di Chamounix 32 
 
 Lucia di Lammermoor 35 
 
 Giordano — 
 
 Andrea Chenier 38 
 
 Siberia 41 
 
 ( in U NOD— 
 
 Faust 44 
 
 Leoncavallo — 
 
 [ Pagliaccj 47 
 
 Mascagni — 
 
 Cavalleria Rusticana . . , ,,. = ,,., 50 
 
Griselidis 52 
 
 Le Jongleur de Notre Dame 56 
 
 Manon 59 
 
 Sapho 62 
 
 Thais 67 
 
 Meyerbeer — 
 
 L'Africaine 70 
 
 Les Huguenots 73 
 
 L'Etoile du Nord yy 
 
 Offenbach — 
 
 Les Contes d'Hoffmann 80 
 
 Puccini — 
 
 La Boheme 84 
 
 La Tosca 88 
 
 Madame Butterfly 91 
 
 Manon Lescaut 94 
 
 Ricci, L. and F. — 
 
 Crispino e la Comare 97 
 
 Rossini — 
 
 The Barber of Seville 99 
 
 Saint- Saens — 
 
 Samson and Dalilah 101 
 
 Strauss — 
 
 Salome 104 
 
 Verdi — 
 
 Aida 107 
 
 Falstaff 1 10 
 
 II Ballo in Maschera 114 
 
 II Trovatore % . 117 
 
 La Traviata 120 
 
 Otello 123 
 
 Rigoletto 126