part two

is laid in _Francesca's_ chamber. It is night. Four waxen torches burn in iron candlesticks. _Francesca_ is lying on the bed. From her sleep she is roused by a wild dream that harm has come to _Paolo_. Her women try to comfort her. After an exchange of gentle and affectionate phrases, she dismisses them.

A light knocking at the door, and _Paolo's_ voice calling, "Francesca!" She flings open the door and throws herself into the arms of her lover. There is an interchange of impassioned phrases. Then a violent shock is heard at the door, followed by the voice of _Gianciotto_, demanding admission. _Paolo_ spies a trap door in the floor of the apartment, pulls the bolt, and bids _Francesca_ open the door of the room for her husband, while he escapes.

_Gianciotto_ rushes into the room. _Paolo's_ cloak has caught in the bolt of the trap door. He is still standing head and shoulders above the level of the floor. Seizing him by the hair, the _Lamester_ forces him to come up. _Paolo_ unsheathes his dagger. _Gianciotto_ draws his sword, thrusts at _Paolo_. _Francesca_ throws herself between the two men, receives the thrust of her husband's sword full in the breast, and falls into _Paolo's_ arms. Mad with rage, her deformed husband with another deadly thrust pierces his brother's side. _Paolo_ and _Francesca_ fall at full length to the floor. With a painful effort, _Gianciotto_ breaks his bloodstained sword over his knee.

Where the drama is lyric in character, and where it concentrates upon the hot-blooded love story, a tradition in the Malatesta family, and narrated by a Malatesta to Dante, who, as is well known, used it in his "Inferno," the music is eloquent. Where, however, the action becomes diffuse, and attention is drawn to subsidiary incidents, as is far too often the case, interest in the music flags. With great benefit to the score at least a third of the libretto could be sacrificed.

* * * * *

Riccardo Zandonai was born at Sacco. He studied with Gianferrai and at the Rossini Conservatory. "Conchita," another opera by him, Milan, 1912, was produced in this country in Chicago and New York in 1913.

Franco Leoni

L'ORACOLO

THE SAGE

Opera in one act by Franco Leoni, words by Camillo Zanoni, adapted from the play, "The Cat and the Cherub," by Chester Bailey Fernald. Produced, Covent Garden Theatre, London, June 28, 1905. Metropolitan Opera House, New York, February 4, 1915, with Scotti, as _Chim-Fen_; Didur, as _Win-She_; Botta, as _Win-San-Lui_; and Bori, as _Ah-Joe_.

CHARACTERS

WIN-SHE, a wise man, called the Sage _Baritone_ CHIM-FEN, an opium den proprietor _Baritone_ WIN-SAN-LUI, son of Win-She _Tenor_ HU-TSIN, a rich merchant _Bass_ HU-CHI, a child, son of Hu-Tsin AH-JOE, niece of Hu-Tsin _Soprano_ HUA-QUI, nurse of Hu-Chi _Contralto_

Four opium fiends, a policeman, an opium maniac, a soothsayer, distant voices, four vendors, Chinese men, women, and children.

_Time_--The present.

_Place_--Chinatown, San Francisco.

_Chim-Fen_ is about to close up his opium den. A man half crazed by the drug comes up its steps and slinks away.

Out of the house of the merchant _Hu-Tsin_ comes _Hua-Qui_, the nurse of _Hu-Tsin's_ son, _Hu-Chi_. _Chim-Fen_ wants to marry the merchant's daughter _Ah-Joe_. The nurse is in league with him. She brings him a fan, upon which _Ah-Joe's_ lover, _San-Lui_, son of the sage, _Win-She_, has written an avowal of love. _Hua-Qui_ is jealous, because _Chim-Fen_ is in love with _Ah-Joe_. Her jealousy annoys him. He threatens her and drives her away.

Four gamblers, drunk with opium, emerge from the den. _Chim-Fen_ looks after them with contempt. It is now very early in the morning of New Year's Day. _Win-She_ comes along. _Chim-Fen_ greets him obsequiously and is admonished by the sage to mend his vile ways.

_San-Lui_ sings a serenade to _Ah-Joe_, who comes out on her balcony to hear him. People pass by, street venders cry their wares. _Ah-Joe_ withdraws into the house, _San-Lui_ goes his way. When _Hu-Tsin_, the rich merchant, comes out, he is accosted by _Chim-Fen_, who asks for the promise of _Ah-Joe's_ hand. _Hu-Tsin_ spurns the proposal.

A fortune-teller comes upon the scene. _Chim-Fen_ has his fortune told. "A vile past, a future possessed of the devil. Wash you of your slime." When _Chim-Fen_ threatens the fortune-teller, the crowd, which has gathered, hoots him and repeats the words of the fortune-teller amid howls and jeers.

_Hu-Tsin_, with _Ah-Joe_, _Hua-Qui_, and the baby boy come into the street, where _Win-She_, gathering a group of worshippers about him, bids _San-Lui_ prevent the crowd from creating a disturbance, then, with all the people kneeling, intones a prayer, from which he finally passes into a trance. When he comes out of it, he says that he has seen two souls, one aspiring toward Nirvana, the other engulfed in the inferno. He also has witnessed the grief of a father at the killing of a hope. At this _Hu-Tsin_ shows alarm for the safety of _Hu-Chi_, and the people join in lamentations, but _Win-She_ prophesies, "_Hu-Chi_ is safe."

Along comes the procession of the dragon. In watching this _Hua-Qui_ neglects her charge. Utilizing this opportunity _Chim-Fen_ seizes the child and carries him off into his cellar. When _Hu-Tsin_ discovers the loss and has berated the nurse, he offers to give the hand of _Ah-Joe_ in marriage to the finder of his son. This is just what _Chim-Fen_ expected. _San-Lui_, however, immediately takes up the search, in spite of _Ah-Joe's_ protests, for the girl fears that some harm will come to him.

_San-Lui_ starts towards _Chim-Fen's_ den. _Hua-Qui_ tries to warn him, by telling him how the opium dealer deceived her and is seeking the hand of _Ah-Joe_, in order to obtain _Hu-Tsin's_ money. _San-Lui_, however, compels _Chim-Fen_ to descend with him to the cellar, where he finds and is about to rescue _Hu-Chi_, when _Chim-Fen_ kills him with a hatchet. _San-Lui_ staggers up the steps to the street, calls _Ah-Joe's_ name, and falls dead. She wails over his body, a crowd gathers, and _Hu-Tsin_ is horror-stricken to find that the man who has been slain at his door is _San-Lui_.

_Win-She_, the father of _San-Lui_, tells the merchant to wait; the death of _San-Lui_ will be avenged. Immediately _Win-She_ goes over to the opium den, hears the child's cry in the cellar, finds _Hu-Chi_ and restores him to his father. He then goes to the door of the opium den, calls _Chim-Fen_, who comes out, apparently filled with indignation against the murderer of _Win-She's_ son, whom he says he would like to throttle with his own hands. From the merchant's house there is heard every now and then the voice of _Ah-Joe_, who has lost her reason through grief, and is calling her lover's name.

The two men seat themselves on a bench near the opium den. _Win-She_ speaks calmly, quietly, and unperceived by _Chim-Fen_, draws a knife, and plunges it into the villain's back. _Chim-Fen_ not dying at once, _Win-She_ quietly winds the man's own pigtail around his neck and proceeds slowly and gradually to strangle him, meanwhile disclosing his knowledge of the murder, but without raising his voice, propping up _Chim-Fen_ against some cases, and speaking so quietly, that a policeman, who saunters by, thinks two Chinamen are in conversation, and turns the corner without realizing that anything is wrong. _Win-She_ now goes his way. _Chim-Fen's_ body falls to the ground.

It will have been observed that many incidents are crowded into this one act, but that the main features of the drama, the villainy of _Chim-Fen_, and the calm clairvoyance of _Win-She_ are never lost sight of.

The music consists mainly of descriptive and dramatic phrases, with but little attempt to give the score definite Chinese colouring. _Ah-Joe's_ song on her balcony to the silvery dawn is the most tuneful passage in the opera. Scotti, whose _Chim-Fen_ is a performance of sinister power, Didur (_Win-She_), and Bori (_Ah-Joe_) were in the Metropolitan production.

* * * * *

Franco Leoni was born at Milan, October 24, 1864. He studied under Ponchielli at the Conservatory in his native city. Other works by him are "Rip Van Winkle," "Raggio di Luna," and "Ib and Little Christina."

Italo Montemezzi

L'AMORE DEI TRE RE

THE LOVE OF THREE KINGS

Opera in three acts, by Italo Montemezzi; words by Sem Benelli, from his tragedy ("tragic poem") of the same title, English version, by Mrs. R.H. Elkin. Produced, La Scala, Milan, April 10, 1913; Metropolitan Opera House, New York, January 2, 1914, with Didur (_Archibaldo_), Amato (_Manfredo_), Ferrari-Fontana (_Avito_), Bori (_Fiora_). Covent Garden Theatre, London, May 27, 1914. Théâtre des Champs Elysées, Paris, April 25, 1914. In the Milan production Luisa Villani was _Fiora_, and Ferrari-Fontana _Avito_.

CHARACTERS

ARCHIBALDO, King of Altura _Bass_ MANFREDO, son of Archibaldo _Baritone_ AVITO, a former prince of Altura _Tenor_ FLAMINIO, a castle guard _Tenor_ FIORA, wife of Manfredo _Soprano_

A youth, a boy child (voice behind the scenes), a voice behind the scenes, a handmaiden, a young girl, an old woman, other people of Altura.

_Time_--The tenth century.

_Place_--A remote castle of Italy, forty years after a Barbarian invasion, led by _Archibaldo_.

[Illustration: Photo by Mishkin

Bori and Ferrari-Fontana in "The Love of Three Kings"]

This opera is justly considered one of the finest products of modern Italian genius. Based upon a powerful tragedy, by Sem Benelli, one of the foremost of living playwrights in Italy, it is a combination of terse, swiftly moving drama with a score which vividly depicts events progressing fatefully toward an inevitable human cataclysm. While there is little or no set melody in Montemezzi's score, nevertheless it is melodious--a succession of musical phrases that clothe the words, the thought behind them, their significance, their most subtle suggestion, in the weft and woof of expressive music. It is a mediæval tapestry, the colours of which have not faded, but still glow with their original depth and opulence. Of the many scores that have come out of Italy since the death of Verdi, "L'Amore dei Tre Re" is one of the most eloquent.

## Act I. The scene is a spacious hall open to a terrace. A lantern

employed as a signal sheds its reddish light dimly through the gloom before dawn.

From the left enters _Archibaldo_. He is old with flowing white hair and beard, and he is blind. He is led in by his guide _Flaminio_, who is in the dress of the castle guard. As if he saw, the old blind king points to the door of a chamber across the hall and bids _Flaminio_ look and tell him if it is quite shut. It is slightly open. _Archibaldo_ in a low voice orders him to shut it, but make no noise, then, hastily changing his mind, to leave it as it is.

In the setting of the scene, in the gloom penetrated only by the glow of the red lantern, in the costumes of the men, in the actions of the old king, who cannot see but whose sense of hearing is weirdly acute, and in the subtle suggestion of suspicion that all is not well, indicated in his restlessness, the very opening of this opera immediately casts a spell of the uncanny over the hearer. This is enhanced by the groping character of the theme which accompanies the entrance of _Archibaldo_ with his guide, depicting the searching footsteps of the blind old man.

[Music]

There is mention of _Fiora_, the wife of _Archibaldo's_ son, _Manfredo_, who is in the north, laying siege to an enemy stronghold. There also is mention of _Avito_, a prince of Altura, to whom _Fiora_ was betrothed before _Archibaldo_ humbled Italy, but whose marriage to _Manfredo_, notwithstanding her previous betrothal, was one of the conditions of peace. Presumably--as is to be gathered from the brief colloquy--_Archibaldo_ has come into the hall to watch with _Flaminio_ for the possible return of _Manfredo_, but the restlessness of the old king, his commands regarding the door opposite, and even certain inferences to be drawn from what he says, lead to the conclusion that he suspects his son's wife and _Avito_. It is also clear--subtly conveyed, without being stated in so many words--that _Flaminio_, though in the service of _Archibaldo_, is faithful to _Avito_, like himself a native of the country, which _Archibaldo_ has conquered.

When _Flaminio_ reminds _Archibaldo_ that _Avito_ was to have wedded _Fiora_, the blind king bids his guide look out into the valley for any sign of _Manfredo's_ approach. "Nessuno, mio signore! Tutto è pace!" is Flaminio's reply. (No one, my lord! All is quiet!)

[Music]

_Archibaldo_, recalling his younger years, tells eloquently of his conquest of Italy, apostrophizing the ravishing beauty of the country, when it first met his gaze, before he descended the mountains from which he beheld it. He then bids _Flaminio_ put out the lantern, since _Manfredo_ comes not. _Flaminio_ obeys then, as there is heard in the distance the sound of a rustic flute, he urges upon _Archibaldo_ that they go. It is nearly dawn, the flute appears to have been a signal which _Flaminio_ understands. He is obviously uneasy, as he leads _Archibaldo_ out of the hall.

_Avito_ and _Fiora_ come out of her room. The woman's hair hangs in disorder around her face, her slender figure is draped in a very fine ivory-white garment. The very quiet that prevails fills _Avito_ with apprehension. It is the woman, confident through love, that seeks to reassure him. "Dammi le labbra, e tanta ti darò di questa pace!" (Give me thy lips, and I will give thee of this peace).

[Music]

For the moment _Avito_ is reassured. There is a brief but passionate love scene. Then _Avito_ perceives that the lantern has been extinguished. He is sure someone has been there, and they are spied upon. Once more _Fiora_ tries to give him confidence. Then she herself hears someone approaching. _Avito_ escapes from the terrace into the dim daylight. The door on the left opens and _Archibaldo_ appears alone. He calls "Fiora! Fiora! Fiora!"

Concealing every movement from the old man's ears, she endeavours to glide back to her chamber. But he hears her.

"I hear thee breathing! Thou'rt breathless and excited! O Fiora, say, with whom hast thou been speaking?"

Deliberately she lies to him. She has been speaking to no one. His keen sense tells him that she lies. For when she sought to escape from him, he heard her "gliding thro' the shadows like a snowy wing."

_Flaminio_ comes hurrying in. The gleam of armoured men has been seen in the distance. _Manfredo_ is returning. His trumpet is sounded. Even now he is upon the battlement and embraced by his father. Longing for his wife, _Fiora_, has led him for a time to forsake the siege. _Fiora_ greets him, but with no more than a semblance of kindness. With cunning, she taunts _Archibaldo_ by telling _Manfredo_ that she had come out upon the terrace at dawn to watch for him, the truth of which assertion _Archibaldo_ can affirm, for he found her there. As they go to their chamber, the old man, troubled, suspecting, fearing, thanks God that he is blind.

## Act II. The scene is a circular terrace on the high castle walls. A

single staircase leads up to the battlements. It is afternoon. The sky is covered with changing, fleeting clouds. Trumpet blasts are heard from the valley. From the left comes _Manfredo_ with his arms around _Fiora_. He pleads with her for her love. As a last boon before he departs he asks her that she will mount the stairway and, as he departs down the valley, wave to him with her scarf. Sincerely moved to pity by his plea, a request so simple and yet seemingly meaning so much to him, she promises that this shall be done. He bids her farewell, kisses her, and rushes off to lead his men back to the siege.

_Fiora_ tries to shake off the sensation of her husband's embrace. She ascends to the battlemented wall. A handmaid brings her an inlaid casket, from which she draws forth a long white scarf. The orchestra graphically depicts the departure of _Manfredo_ at the head of his cavalcade.

[Music]

_Fiora_ sees the horsemen disappear in the valley. As she waves the veil, her hand drops wearily each time. _Avito_ comes. He tells her it is to say farewell. At first, still touched by the pity which she has felt for her husband, _Fiora_ restrains her passionate longing for her lover, once or twice waves the scarf, tries to do so again, lets her arms drop, her head droop, then, coming down the steps, falls into his arms open to receive her, and they kiss each other as if dying of love. "Come tremi, diletto" (How thou art trembling, beloved!) whispers Fiora.

[Music]

"Guarda in sù! Siamo in cielo!" (Look up! We are in heaven!) responds _Avito_.

[Music]

But the avenger is nigh. He is old, he is blind, but he knows. _Avito_ is about to throw himself upon him with his drawn dagger, but is stopped by a gesture from _Flaminio_, who has followed the king. _Avito_ goes. But _Archibaldo_ has heard his footsteps. The king orders _Flaminio_ to leave him with _Fiora_. _Flaminio_ bids him listen to the sound of horses' hoofs in the valley. _Manfredo_ is returning. _Fiora_ senses that her husband has suddenly missed the waving of the scarf. _Archibaldo_ orders _Flaminio_ to go meet the prince.

The old king bluntly accuses _Fiora_ of having been with her lover. Cowering on a stone bench that runs around the wall, she denies it. _Archibaldo_ seizes her. Rearing like a serpent, _Fiora_, losing all fear, in the almost certainty of death at the hands of the powerful old man, who holds her, boldly vaunts her lover to him. _Archibaldo_ demands his name, that he and his son may be avenged upon him. She refuses to divulge it. He seizes her by the throat, again demands the name, and when she again refuses to betray her lover, throttles her to death. _Manfredo_ arrives. Briefly the old man tells him of _Fiora's_ guilt. Yet _Manfredo_ cannot hate her. He is moved to pity by the great love of which her heart was capable, though it was not for him. He goes out slowly, while _Archibaldo_ hoists the slender body of the dead woman across his chest, and follows him.

## Act III. The crypt of the castle, where _Fiora_ lies upon her bier

with white flowers all about her, and tapers at her head and feet. Around her, people of her country, young and old, make their moan, while from within the chapel voices of a choir are heard.

Out of the darkness comes _Avito_. The others depart in order that he may be alone with his beloved dead, for he too is of their country, and they know. "Fiora! Fiora!--È silenzio!" (Fiora! Fiora!--Silence surrounds us) are his first words, as he gazes upon her.

[Music: Fiora, Fiora! È silenzio.]

Then, desperately, he throws himself beside her and presses his lips on hers. A sudden chill, as of approaching death, passes through him. He rises, takes a few tottering steps toward the exit.

Like a shadow, _Manfredo_ approaches. He has come to seize his wife's lover, whose name his father could not wring from her, but whom at last they have caught. He recognizes _Avito_. Then it was he whom she adored.

"What do you want?" asks _Avito_. "Can you not see that I can scarcely speak?"

Scarcely speak? He might as well be dead. Upon _Fiora's_ lips _Archibaldo_ has spread a virulent poison, knowing well that her lover would come into the crypt to kiss her, and in that very act would drain the poison from her lips and die. Thus would they track him.

With his last breath, _Avito_ tells that she loved him as the life that they took from her, aye, even more. Despite the avowal, _Manfredo_ cannot hate him; but rather is he moved to wonder at the vast love _Fiora_ was capable of bestowing, yet not upon himself.

_Avito_ is dead. _Manfredo_, too, throws himself upon _Fiora's_ corpse, and from her lips draws in what remains of the poison, quivers, while death slowly creeps through his veins, then enters eternal darkness, as _Archibaldo_ gropes his way into the crypt.

The blind king approaches the bier, feels a body lying by it, believes he has caught _Fiora's_ lover, only to find that the corpse is that of his son.

Such is the love of three kings;--of _Archibaldo_ for his son, of _Avito_ for the woman who loved him, of _Manfredo_ for the woman who loved him not.

Or, if deeper meaning is looked for in Sem Benelli's powerful tragedy, the three kings are in love with Italy, represented by _Fiora_, who hates and scorns the conqueror of her country, _Archibaldo_; coldly turns aside from _Manfredo_, his son and heir apparent with whose hand he sought to bribe her; hotly loves, and dies for a prince of her own people, _Avito_. Tragic is the outcome of the conqueror's effort to win and rule over an unwilling people. Truly, he is blind.

* * * * *

Italo Montemezzi was born in 1875, in Verona. A choral work by him, "Cantico dei Cantici," was produced at the Milan Conservatory, 1900. Besides "L'Amore dei Tre Re," he has composed the operas "Giovanni Gallurese," Turin, 1905, and "Hélléra," Turin, 1909.

Ermanno Wolf-Ferrari

Ermanno Wolf-Ferrari was born in Venice, January 12, 1876, the son of August Wolf, a German painter, and an Italian mother. At first self-taught in music, he studied later with Rheinberger in Munich. From 1902-09 he was director of the conservatory Licio Benedetto Marcello. He composed, to words by Dante, the oratorio "La Vita Nuova." His operas, "Le Donne Curiose," "Il Segreto di Susanna," and "L'Amore Medico," are works of the utmost delicacy. They had not, however, been able to hold their own on the operatic stage of English-speaking countries. This may explain the composer's plunge into so exaggerated, and "manufactured" a blood and thunder work as "The Jewels of the Madonna." In American opera this has held its own in the repertoire of the Chicago Opera Company. It has at least some substance, some approach to passion, even if this appears worked up when compared with such spontaneous productions as "Cavalleria Rusticana" and "I Pagliacci," which it obviously seeks to outdo in sordidness and brutality.

The failure of Wolf-Ferrari's other operas to hold the stage in English-speaking countries disappointed many, who regarded him as next to Puccini, the most promising contemporary Italian composer of opera. The trouble is that the plots of his librettos are mere sketches, and his scores delicate to the point of tenuity, so that even with good casts, they are futile attempts to re-invoke the Spirit of Mozart behind the mask of a half-suppressed modern orchestra.

I GIOJELLI DELLA MADONNA

(THE JEWELS OF THE MADONNA)

Opera in three acts by Wolf-Ferrari; plot by the composer, versification by C. Zangarini and E. Golisciani. Produced in German (Der Schmuck der Madonna), at the Kurfuersten Oper, Berlin, December 23, 1911. Covent Garden Theatre, London, March 30, 1912. Auditorium Theatre, Chicago, January 16, 1912; Metropolitan Opera House, New York, March 5, 1912, both the Chicago and New York productions by the Chicago Opera Company, conducted by Cleofonte Campanini, with Carolina White, Louis Bérat, Bassi, and Sammares.

CHARACTERS

GENNARO, in love with _Maliella_ _Tenor_ MALIELLA, in love with _Rafaele_ _Soprano_ RAFAELE, leader of the Camorrists _Baritone_ CARMELA, _Gennaro's_ mother _Mezzo-Soprano_ BIASO _Tenor_ CICCILLO _Tenor_ STELLA _Soprano_ CONCETTA _Soprano_ SERENA _Soprano_ ROCCO _Bass_

Grazia, a dancer; Totonno, vendors, monks, populace.

_Time_--The present.

_Place_--Naples.

## Act I. A small square in Naples, near the sea. _Carmela's_ house,

_Gennaro's_ smithy, an inn, and the little hut of _Biaso_, the scribe, among many other details. "It is the gorgeous afternoon of the festival of the Madonna, and the square swarms with a noisy crowd, rejoicing and celebrating the event with that strange mixture of carnival and superstition so characteristic of Southern Italy." This describes most aptly the gay, crowded scene, and the character of the music with which the opera opens. It is quite kaleidoscopic in its constant shifting of interest. At last many in the crowd follow a band, which has crossed the square.

_Gennaro_ in his blacksmith's shop is seen giving the finishing touches to a candelabra on which he has been working. He places it on the anvil, as on an altar, kneels before it, and sings a prayer to the Madonna--"Madonna, con sospiri" (Madonna, tears and sighing).

_Maliella_ rushes out of the house pursued by _Carmela_. She is a restless, wilful girl, possessed of the desire to get away from the restraint of the household and throw herself into the life of the city, however evil--a potential _Carmen_, from whom opportunity has as yet been withheld. Striking an attitude of bravado, and in spite of _Gennaro's_ protests, she voices her rebellious thoughts in the "Canzone di Cannetella,"--"Diceva Cannetella vedendosi inserata" (Thus sang poor Cannetella, who yearned and sighed for her freedom).

A crowd gathers to hear her. From the direction of the sea comes the chorus of the approaching Camorrists. _Maliella_ and the crowd dance wildly. When _Carmela_ reappears with a pitcher of water on her head, the wayward girl is dashing along the quay screaming and laughing.

_Carmela_ tells her son the brief story of _Maliella_. _Gennaro_ languished, when an infant. _Carmela_ vowed to the Madonna to seek an infant girl of sin begotten, and adopt her. "In the open street I found her, and you recovered." There is a touching duet for mother and son, in which _Carmela_ bids him go and pray to the Madonna, and _Gennaro_ asks for her blessing, before he leaves to do so. _Carmela_ then goes into the house.

_Maliella_ runs in. The Camorrists, _Rafaele_ in the van, are in pursuit of her. _Rafaele_, the leader of the band, is a handsome, flashy blackguard. When he advances to seize and kiss her, she draws a dagger-like hat pin. Laughing, he throws off his coat, like a duellist, grasps and holds her tightly. She stabs his hand, making it bleed, then throws away the skewer. Angry at first, he laughs disdainfully, then passionately kisses the wound. While the other Camorrists buy flowers from a passing flower girl and make a carpet of them, _Rafaele_ picks up the hat pin, kneels before _Maliella_, and hands it to her. _Maliella_ slowly replaces it in her hair, and then _Rafaele_, her arms being uplifted, sticks a flower she had previously refused, on her breast, where she permits it to remain. A few moments later she plucks it out and throws it away. _Rafaele_ picks it up, and carefully replaces it in his buttonhole. A little later he goes to the inn, looks in her direction, and raises his filled glass to her, just at the moment, when, although her back is toward him, a subtle influence compels her to turn and look at him.

Tolling of bells, discharge of mortars, cheers of populace, announce the approach of the procession of Madonna. While hymns to the Virgin are chanted, _Rafaele_ pours words of passion into _Maliella's_ ears. The image of the Virgin, bedecked with sparkling jewels--the jewels of the Madonna--is borne past. _Rafaele_ asseverates that for the love of _Maliella_ he would even rob the sacred image of the jewels and bedeck her with them. The superstitious girl is terrified.

_Gennaro_, who returns at that moment, warns her against _Rafaele_ as "the most notorious blackguard in this quarter," at the same time he orders her into the house. _Rafaele's_ mocking laugh infuriates him. The men seem about to fight. Just then the procession returns, and they are obliged to kneel. _Rafaele's_ looks, however, follow _Maliella_, who is very deliberately moving toward the house, her eyes constantly turning in the Camorrist's direction. He tosses her the flower she has previously despised. She picks it up, puts it between her lips, and flies indoors.

## Act II. The garden of _Carmela's_ house. On the left wall a wooden

staircase. Under this is a gap in the back wall shut in by a railing. It is late evening.

_Carmela_, having cleared the table, goes into the house. _Gennaro_ starts in to warn _Maliella_. She says she will have freedom, rushes up the staircase to her room, where she is seen putting her things together, while she hums, "E ndringhete, ndranghete" (I long for mirth and folly).

She descends with her bundle and is ready to leave. _Gennaro_ pleads with her. As if lost in a reverie, with eyes half-closed, she recalls how _Rafaele_ offered to steal the jewels of the Madonna for her. _Gennaro_, at first shocked at the sacrilege in the mere suggestion, appears to yield gradually to a desperate intention. He bars the way to _Maliella_, locks the gate, and stands facing her. Laughing derisively, she reascends the stairs.

Her laugh still ringing in his ears, no longer master of himself, he goes to a cupboard under the stairs, takes out a box, opens it by the light of the lamp at the table, selects from its contents several skeleton keys and files, wraps them in a piece of leather, which he hides under his coat, takes a look at _Maliella's_ window, crosses himself, and sneaks out.

From the direction of the sea a chorus of men's voices is heard. _Rafaele_ appears at the gate with his Camorrist friends. To the accompaniment of their mandolins and guitars he sings to _Maliella_ a lively waltzlike serenade. The girl, in a white wrapper, a light scarlet shawl over her shoulders descends to the garden. There is a love duet--"in a torrent of passion," according to the libretto, but not so torrential in the score:--"T'amo, sì, t'amo" (I love you, I love you), for _Maliella_; "Stringimi forte" (Cling fast to me) for _Rafaele_; "Oh! strette ardenti" (Rapture enthralling) for both. She promises that on the morrow she will join him. Then _Rafaele's_ comrades signal that someone approaches.

Left to herself, she sees in the moonlight _Gennaro's_ open tool box. As if in answer to her presentiment of what it signifies, he appears with a bundle wrapped in red damask. He is too distracted by his purpose to question her presence in the garden at so late an hour and so lightly clad. Throwing back the folds of the damask, he spreads out on the table, for _Maliella_, the jewels of the Madonna.

_Maliella_, in an ecstacy, half mystic, half sensual, and seemingly visioning in _Gennaro_ the image of the man who promised her the jewels, _Rafaele_, who has set every chord of evil passion in her nature vibrating--no longer repulses _Gennaro_, but, when, at the foot of a blossoming orange tree, he seizes her, yields herself to his embrace;--a scene described in the Italian libretto with a realism that leaves no doubt as to its meaning.

## Act III. A haunt of the Camorrists on the outskirts of Naples. On the

left wall is a rough fresco of the Madonna, whose image was borne in procession the previous day. In front of it is a sort of altar.

The Camorrists gather. They are men and women, all the latter of doubtful character. There is singing with dancing--the "Apache," the "Tarantella." _Stella_, _Concetta_, _Serena_, and _Grazia_, the dancer, are the principal women. They do not anticipate _Maliella's_ expected arrival with much pleasure. When _Rafaele_ comes in, they ask him what he admires in her. In his answer, "Non sapete ... di Maliella" (know you not of Maliella), he tells them her chief charm is that he will be the first man to whom she has yielded herself.

In the midst of an uproar of shouting and dancing, while _Rafaele_, standing on a table, cracks a whip, _Maliella_ rushes in. In an agony she cries out that, in a trance, she gave herself up to _Gennaro_. The women laugh derisively at _Rafaele_, who has just sung of her as being inviolable to all but himself. There is not a touch of mysticism about _Rafaele_. That she should have confused _Gennaro_ with him, and so have yielded herself to the young blacksmith, does not appeal to him at all. For him she is a plucked rose to be left to wither. Furiously he rejects her, flings her to the ground. The jewels of the Madonna fall from her cloak. They are readily recognized; for they are depicted in the rough fresco on the wall.

_Gennaro_, who has followed her to the haunt of the Camorrists, enters. He is half mad. _Maliella_, laughing hysterically, flings the jewels at his feet, shrieking that he stole them for her. The crowd, as superstitious as it is criminal, recoils from both intruders. The women fall to their knees. _Rafaele_ curses the girl. At his command, the band disperses. _Maliella_ goes out to drown herself in the sea. "Madonna dei dolor! Miserere!" (Madonna of our pain, have pity), prays _Gennaro_. His thoughts revert to his mother. "Deh non piangere, O Mamma mia" (Ah! Weep not, beloved mother mine). Among the débris he finds a knife and plunges it into his heart.

* * * * *

"Le Donne Curiose" (Inquisitive Women), words by Luigi Sagana, after a comedy by Goldoni, was produced at the Hofoper, Munich, November 27, 1903, in German. It was given for the first time in Italian at the Metropolitan Opera House, New York, January 3, 1912.

Several Venetian gentlemen, including _Ottavio_, the father of _Rosaura_, who is betrothed to _Florindo_, have formed a club, to which women are not admitted. The latter immediately have visions of forbidden pleasures being indulged in by the men at the club. By various intrigues the women manage to obtain a set of keys, and enter the club, only to find the men enjoying themselves harmlessly at dinner. All ends in laughter and dancing.

The principal characters are _Ottavio_, a rich Italian (_Bass_); _Beatrice_, his wife (_Mezzo-Soprano_); _Rosaura_, his daughter (_Soprano_); _Florindo_, betrothed to _Rosaura_ (_Tenor_); _Pantalone_, a Venetian merchant (_Buffo-Baritone_); his friends, _Lelio_ (_Baritone_), and _Leandro_ (_Tenor_); _Colombina_, _Rosaura's_ maid (_Soprano_); _Eleanora_, wife to _Lelio_ (_Soprano_); _Arlecchino_; servant to _Pantalone_ (_Buffo-Bass_). There are servants, gondoliers, and men and women of the populace. The action is laid in Venice in the middle of the eighteenth century. There are three acts:

## Act I, in the Friendship Club, and later in Ottavio's home; Act II, in

_Lelio's_ home; Act III, a street in Venice near the Grand Canal, and later in the club.

In the music the club's motto, "Bandie xe le Done" (No Women Admitted) is repeated often enough to pass for a motif. The most melodious vocal passage is the duet for _Rosaura_ and _Florindo_ in Act II, "Il cor nel contento" (My heart, how it leaps in rejoicing). In the first scene of Act III a beautiful effect is produced by the composer's use of the Venetian barcarolle, "La Biondina in Gondoletta," which often, in the earlier days of Rossini's Opera, "Il Barbiere di Siviglia," was introduced by prima donnas in the lesson scene.

In the Metropolitan production Farrar was _Rosaura_, Jadlowker _Florindo_, and Scotti _Lelio_. Toscanini conducted. The rôles of _Colombina_ and _Arlecchino_ (Harlequin) are survivals of old Italian comedy, which Goldoni still retained in some of his plays.

* * * * *

"Il Segreto di Susanna" (The Secret of Suzanne), the scene a drawing-room in Piedmont, time 1840, is in one act. _Countess Suzanne_ (_Soprano_) smokes cigarettes. The aroma left by the smoke leads _Count Gil_ (_Baritone_) to suspect his wife of entertaining a lover. He discovers her secret--and all is well. The third character, a servant, _Sante_, is an acting part.--A musical trifle, at the Hofoper, Munich, November 4, 1909; Metropolitan Opera House, New York, by the Chicago Opera Company, March 14, 1911, with Carolina White and Sammarco; Constanzi Theatre, Rome, November 27, 1911. The "book" is by Enrico Golisciani, from the French.

* * * * *

"L'Amore Medico," Metropolitan Opera House, March 25, 1914, is another typical bit of Wolf-Ferrari musical bric-a-brac--slight, charming, and quite unable to hold its own in the hurly-burly of modern _verismo_. A girl is lovesick. Her father, who does not want her ever to leave him, thinks her ailment physical, and vainly summons four noted physicians. Then the clever maid brings in the girl's lover disguised as a doctor. He diagnoses the case as love-hallucination, and suggests as a remedy a mock marriage, with himself as bridegroom. The father consents, and an actual marriage takes place.

The scene of "L'Amore Medico" (Doctor Cupid), words by Golisciani after Molière's "L'Amour Médecin," is a villa near Paris, about 1665 (Louis XIV). The characters are _Arnolfo_, a rich, elderly landowner (_Bass_); _Lucinda_, his daughter (_Soprano_); _Clitandro_, a young cavalier, (_Tenor_); _Drs. Tomes_ (_Bass_); _Desfonandres_ (_Bass_); _Macroton_ (_Baritone_); _Bahis_ (_Tenor_); _Lisetta_, _Lucinda's_ maid (_Soprano_); _Notary_ (_Bass_). There also are servants, peasants and peasant girls, musicians, dancing girls, etc. The work is in two acts, the scene of the first the villa garden; of the second a handsome interior of the villa. The original production, in German, was at the Dresden Royal Opera House, December 4, 1913.

Umberto Giordano

Umberto Giordano was born at Foggia, August 26, 1867. Paolo Serrão was his teacher in music at the Naples Conservatory. With a one-act opera, "Marina," he competed for the Sonzogno prize, which Mascagni won with "Cavalleria Rusticana." "Marina," however, secured for him a commission for the three-act opera, "Mala Vita," Rome, 1892. Then followed the operas which have been noticed above.

MADAME SANS-GÊNE

Opera in four acts by Umberto Giordano, words by Renato Simoni after the play by Victorien Sardou and E. Moreau. Produced, for the first time on any stage, Metropolitan Opera House, New York January 25, 1915, with Farrar as _Catherine_, and Amato as _Napoleon_.

CHARACTERS

NAPOLEON BONAPARTE _Baritone_ LEFEBVRE, sergeant of the National Guards, later a Marshal of France and Duke of Danzig _Tenor_ FOUCHÉ, officer of the National Guards, later Minister of Police _Baritone_ COUNT DE NEIPPERG _Tenor_ VINAIGRE, drummer boy _Tenor_ DESPRÉAUX, dancing master _Tenor_ GELSOMINO, page _Baritone_ LEROY, tailor _Baritone_ DE BRIGODE, chamberlain _Baritone_ ROUSTAN, head of the Mamelukes _Baritone_ CATHERINE HUEBSCHER, "Madame Sans-Gêne," laundress; later Duchess of Danzig _Soprano_ TOINETTE } { _Soprano_ JULIA } laundresses { _Soprano_ LA ROSSA } { _Soprano_ QUEEN CAROLINE } sisters of { _Soprano_ PRINCESS ELISA } NAPOLEON { _Soprano_ LADY DE BÜLOW, matron of honour to the Empress _Soprano_

_Maturino_, _Constant_ (valet to _Napoleon_), the voice of the Empress, citizens, shopkeepers, villagers, soldiers, ladies of the court, officials, diplomats, academicians, hunters, pages, and two Mamelukes.

_Time_--August 10, 1792; and September, 1811.

_Place_--Paris.

"Madame Sans-Gêne" is an opera that maintains itself in the repertoire largely because of the play that underlies it. The title rôle is delightful. It has been among the successes of several clever actresses, including Ellen Terry, to whose _Catherine_ Henry Irving was the _Napoleon_. Its creator in the opera was Geraldine Farrar, to whose vivacity in interesting the character, far more than to the musical merit of the work itself, is due the fact that the opera has not dropped out of the repertoire. In point of fact the same composer's "André Chénier" is of greater musical interest, but the leading character does not offer the same scope for acting, which accounts for its having dropped almost entirely out of the repertoire in America.

In "Madame Sans-Gêne," _Catherine_ (in the Italian libretto _Caterina_) is a laundress. The first act opens in her laundry in Paris during the French Revolution. The nickname of Madame Sans-Gêne, usually translated Madame Free-and-Easy, is given her because of her vivacity, originality, straightforwardness in speech, and charm.

Discharge of cannon and other sounds indicate that fighting is going on in the streets. Three women employed by _Catherine_ are at work in the laundry. _Catherine_ comes in from the street. She tells of her adventures with a lot of rough soldiers. She does this amazingly, but her experience has cured her of her curiosity to see what is going on outside. There is a scene between _Catherine_ and _Fouché_, a time-server, waiting to observe how matters go, before he decides whether to cast his fortunes with the Royalists or the people. They gossip about a Corsican officer, who owes _Catherine_ for laundry, but is so poor he has been obliged to pawn his watch for bread. Nevertheless, the good-hearted, lively _Madame Sans-Gêne_ continues to do his laundry work for him, and trusts to the future for the bill.

_Catherine_ is left alone. Rifle shots are heard. _Count Neipperg_, a wounded Austrian officer of the Queen's suite, comes in and asks to be hidden. Although she is of the people, _Catherine_ hides him in her own room. His pursuers enter. It chances they are led by _Catherine's_ betrothed, _Sergeant Lefebvre_. For a while _Catherine_ diverts the squad from its purpose by offering wine. _Lefebvre_ uncorks the bottle, meanwhile giving a lively description of the sacking of the Tuilleries. There is a scene of affection between him and _Catherine_. He notices that his hands are black with powder and, intending to wash them in _Catherine's_ room, becomes violently suspicious on finding the door locked. He wrenches the key from her, unlocks the door, enters the room. _Catherine_, expecting every moment to hear him despatching the wounded man stops up her ears. _Lefebvre_ comes out quietly. He tells her the man in her room is dead. As she is not at all excited, but merely surprised, he knows that he has no cause to suspect that the wounded man is her lover. He will help her to save him. _Catherine_ throws herself into his arms. There are sounds of drums and of marching and shouting in the street. _Lefebvre_ leads out his squad.

Like most modern composers who do not possess the gift for sustained melody, Giordano would make up for it by great skill in the handling of his orchestra and constant depiction of the varying phases of the

## action. There is considerable opportunity for a display of this talent

in the first act of "Madame Sans-Gêne," and the composer has furnished a musical background, in which the colours are laid on in short, quick, and crisp strokes. "The Marseillaise" is introduced as soldiers and mob surge past _Catherine's_ laundry.

## Act II. The drawing-room of the Château de Compiègne. The Empire has

been established. _Lefebvre_ is a Marshal and has been created Duke of Danzig. _Catherine_ is his duchess. She scandalizes the court with her frequent breaches of etiquette.

[Illustration: Photo by White

Farrar as Catherine in "Mme. Sans-Gêne"]

When the act opens _Despréaux_, the dancing master, _Gelsomino_, the valet, and _Leroy_, the ladies' tailor, are engaged in passing criticisms upon her. She enters, is as unconventional as ever, and amusingly awkward, when she tries on the court train, or is being taught by _Despréaux_ how to deport herself, when she receives the Emperor's sisters, whom she is expecting. _Lefebvre_ comes in like a thunder cloud. _Napoleon_, he tells her, has heard how she has scandalized the court by her conduct and has intimated that he wishes him to divorce her. There is a charming scene--perhaps the most melodious in the opera--between the couple who love each other sincerely. _Neipperg_, who now is Austrian Ambassador, comes upon the scene to bid his old friends good-bye. _Napoleon_ suspects that there is an intrigue between him and the Empress, and has had him recalled. _Fouché_, Minister of Police, announces _Napoleon's_ sisters--_Queen Carolina_ and _Princess Elisa_. _Catherine's_ court train bothers her. She is unrestrained in her language. The royal ladies and their suite at first laugh contemptuously, then as _Catherine_, in her resentment, recalls to _Carolina_ that _King Murat_, her husband, once was a waiter in a tavern, the scene becomes one of growing mutual recrimination, until, to the measures of "The Marseillaise," _Catherine_ begins to recount her services to _Napoleon's_ army as _Cantinière_. Enraged, the royal ladies and their suite leave. _De Brigode_, the court chamberlain, summons _Catherine_ to the presence of the _Emperor_. Not at all disconcerted, she salutes in military fashion the men who have remained behind, and follows _De Brigode_.

## Act III. Cabinet of the _Emperor_. There is a brief scene between

_Napoleon_ and his sisters, to whom he announces that there is to be a hunt at dawn, at which he desires their presence. They withdraw; _Catherine_ is announced.

_Napoleon_ brusquely attacks her for her behaviour. She recalls his own humble origin, tells of her services to the army, and of the wound in the arm she received on the battlefield, maintains that his sisters in insulting her also insulted his army, and, as a climax draws out a bit of yellow paper--a laundry bill he still owes her, for he was the impecunious young lieutenant mentioned in the first act. With much chicness she even tells him that, when she delivered his laundry, she tried to attract his attention, but he was always too absorbed in study to take notice of her, and make love to her.

The _Emperor_ is charmed. He kisses the scar left by the wound on her arm. _Catherine_, bowing, exclaims, "The Emperor owes me nothing more!"

_Catherine_ is about to go, _Napoleon_ ordering for her the escort of an officer, when _Neipperg_ is apprehended, as he is approaching the _Empress's_ door. Infuriated, _Napoleon_ tears the string of medals from the Ambassador's breast and appears about to strike him in the face with it. _Neipperg_ draws his sword. Officers rush in. _Napoleon_ orders that he be shot ere dawn, and that _Fouché_ and _Lefebvre_ have charge of the execution.

## Act IV. The scene is the same, but it is far into the night. The

candles are burning low, the fire is dying out, _Catherine_ and _Lefebvre_ have a brief scene in which they deplore that they are powerless to prevent _Neipperg's_ execution. _Catherine_ cannot even inform the _Empress_ and possibly obtain her intervention, for her door, at _Napoleon's_ command, is guarded by _Roustan_.

But _Napoleon_, when he comes in, is sufficiently impressed by _Catherine's_ faith in the _Empress's_ loyalty to put it to the test. At his direction, she knocks at the _Empress's_ door, and pretending to be her Matron of Honour, Mme. de Bülow, says, "Majesty, Neipperg is here." The _Empress_ passes out a letter. "Give this to him--and my farewell." _Napoleon_ takes the letter, breaks the seal. The letter is to the _Empress's_ father, the Emperor of Austria, whom she asks to entertain _Neipperg_ in Vienna as his assiduity troubles her and the _Emperor_. _Napoleon_ orders _Fouché_ to restore _Neipperg's_ sword and let him depart.

"As for your divorce," he says to _Lefebvre_, with a savage look, "My wish is this"--playfully he tweaks _Catherine_ by the ear. "Hold her for ever true. Give thanks to heaven for giving her to you."

Hunting-horns and the chorus of hunters are heard outside.

ANDRÉ CHÉNIER

"André Chénier" was produced at La Scala, Milan, March 23, 1896. It was given in London, in English, April 26, 1903. Long before that, November 13, 1896, New York heard it at the Academy of Music, under Mapleson. It had a single performance, under the management of Oscar Hammerstein, at the Manhattan Opera House in 1908, and eight years later was given by, and endured through the season of, the Boston-National Opera Company, both in Boston and on tour.

Historical as a character though André Chénier be, Giordano's librettist, Luigi Illica, has turned his life into fiction. Chénier was a poet, dreamer, and patriot. Born at Constantinople, he went to Paris for his education. Later he became a participant in and victim of the French Revolution.

CHARACTERS

ANDRÉ CHÉNIER _Tenor_ CHARLES GÉRARD _Baritone_ COUNTESS DE COIGNY _Soprano_ MADELEINE, her daughter _Soprano_ BERSI, her maid _Mezzo-Soprano_ ROUCHER _Bass_ MATHIEU _Baritone_ MADELON _Soprano_ FLÉVILLE _Tenor_ THE ABBÉ _Tenor_ SCHMIDT, jailer at St. Lazare _Bass_ A SPY _Tenor_ [Transcriber's Note: "Tenor" missing in original]

Guests at ball, servants, pages, peasants, soldiers of the Republic, masqueraders, judges, jurymen, prisoners, mob, etc.

_Time_--Just prior to and during the French Revolution.

_Place_--Paris.

## Act I. Ballroom in a château. _Gérard_, a servant, but also a

revolutionist, is secretly in love with _Madeleine_, the _Countess's_ daughter. Among the guests at a ball is _André Chénier_, a poet with revolutionary tendencies. _Madeleine_ asks him to improvise a poem on love. Instead, he sings of the wrongs of the poor. _Gérard_ appears with a crowd of ragged men and women, but at the _Countess's_ command servants force the intruders out. _Chénier_ and _Madeleine_, the latter weary of the routine of fashion, have been attracted to each other.

## Act II. Café Hottot in Paris, several years later. _Chénier_ has

offended the Revolutionists by denouncing Robespierre. A spy is watching _Bersi_, _Madeleine's_ old nurse, and sees her hand _Chénier_ a letter. It is from _Madeleine_. She loves him. She is dogged by spies, begs him come to her aid, and arranges a meeting.

Robespierre passes, followed by a mob. _Gérard_, now high in favour, seeks to possess _Madeleine_, who comes to meet the poet. They are about to flee, when _Gérard_, notified by the spy, interposes. _Chénier_ and _Gérard_ fight with swords. _Gérard_ is wounded. The lovers escape.

## Act III. Revolutionary Tribunal. The crowd sings the "Carmagnole."

_Chénier_ has been captured. _Gérard_ writes the indictment for his rival. _Madeleine_ pleads for her lover, finally promising to give herself to _Gérard_ if _Chénier_ is spared. _Gérard_, moved by the girl's love, agrees to save _Chénier_ if he can. At the trial he declares that the indictment against _Chénier_ is false. But the mob, thirsting for more blood, demands the poet's death.

## Act IV. Prison of Lazare at midnight. _Madeleine_ enters to _Chénier_

with _Gérard_. She has bribed the _jailer_ to allow her to substitute for another woman prisoner. If she cannot live for her lover, she can, at least, die with him. Together she and _Chénier_ go to the scaffold.

* * * * *

Two other operas by Giordano have been heard in America--"Fedora," after Sardou, Metropolitan Opera House, December 16, 1906, with Cavalieri and Caruso; and "Siberia," Manhattan Opera House, February 5, 1908. They have not lasted.

Modern Italian Opera

ERO E LEANDRO

Opera in three acts by Luigi Mancinelli; libretto by Arrigo Boïto. First produced in America at the Metropolitan Opera House, March 10, 1899, with the composer conducting and the following cast: _Hero_, Mme. Eames; _Leandro_, Saléza, and Plançon as _Ariofarno_.

In the first act the lovers meet at a festival. _Leandro_, victor in the Aphrodisian games both as a swordsman and cytharist, is crowned by _Hero_. He sings two odes borrowed from Anacreon. _Ariofarno_, the archon, loves _Hero_. When he seeks to turn her from her sacred mission as priestess of Aphrodite she spurns his love. She invokes an omen from a sea shell, on the altar of the goddess, and hears in it rushing waters and the surging sea, that will eventually turn her romance to tragedy. When she kneels before the statue of Apollo and pleads to know her fate, _Ariofarno_, concealed, answers: "Death."

The second act takes place in the temple of Aphrodite. The archon claims that he has been warned by the oracle to reinstate a service in a town by the sea. He consecrates _Hero_ to the duty of giving warning of approaching storms, so that the raging waters may be appeased by priestly ritual. He offers to release her from this task if she will return his love. When she again spurns him, _Leandro_ attempts to attack him. For this, the young man is banished to the shores of Asia, while _Hero_ sadly pledges herself to the new service.

In the third act _Leandro_ has performed his famous swimming feat. The lovers sing their ecstasy. Meanwhile a storm arises unobserved. The trumpet that should have been sounded by _Hero_ is sounded from the vaults beneath the tower. _Leandro_ throws himself into the Hellespont while _Ariofarno_ and his priests chide _Hero_ for her neglect as they discover its cause. A thunderbolt shatters a portion of the tower wall and _Leandro's_ body is disclosed. _Hero_ falls dying to the ground, while the archon rages.

CONCHITA

Opera in four acts by Riccardo Zandonai; text by Vaucaire and Zangarini, based on Pierre Louÿs's "La Femme et le Pantin" (The Woman and the Puppet). Produced, Milan, 1911.

CHARACTERS

CONCHITA _Soprano_ MATEO _Tenor_ CONCHITA'S MOTHER _Mezzo-Soprano_ RUFINA _Mezzo-Soprano_ ESTELLA _Mezzo-Soprano_ THE SUPERINTENDENT _Mezzo-Soprano_ THE INSPECTOR _Bass_ GARCIA, Dance Hall Proprietor _Bass_ TONIO, waiter _Bass_

Various characters in a cigar factory, a dance hall, and a street. Distant voices.

_Time_--The Present.

_Place_--Seville.

## Act I. In a cigar factory. Among the visitors _Conchita_, one of the

cigar girls, recognizes _Mateo_, a wealthy Spaniard, who rescued her from the forced attentions of a policeman. She invites _Mateo_ to her home. The girl's mother, delighted that her daughter has attracted a wealthy man, goes out to make some purchases. Love scene for _Mateo_ and _Conchita_. The mother returns, and, unseen by _Conchita_, _Mateo_ gives her money. When _Mateo_ leaves, and _Conchita_ discovers he has given her mother money, she is furious and vows never to see _Mateo_ again, because she thinks he has endeavoured to purchase her love. In her anger she leaves her home.

## Act II. A dance hall, where _Conchita_ earns a living by her risqué

dances. _Mateo_, who finds her after a long search, is astounded. He begs her to go away with him. She refuses, and executes a most daring dance for a group of visitors. _Mateo_, watching her from outside, and wild with jealousy, breaks through the window. _Conchita_, angry at first, takes from him the key to a little house he owns and tells him that, if he comes at midnight, she will open her lattice to him as to a mysterious lover.

## Act III. A street in Seville. _Mateo_ stands before the house. But

instead of admitting him, when he pleads his love, she turns and calls, as if to someone within, "Morenito!"--the name of a man he saw her dancing with at the dance hall. _Mateo_ tries to break into the house. _Conchita_ taunts him. He staggers away.

## Act IV. _Mateo_ is desperate. _Conchita_ comes to his home and says

she certainly expected him to kill himself for love of her. Enraged, he seizes her. She tries to stab him. He beats her without mercy. At last--and it seems about time--_Conchita_ now sees how desperately he must love her. She declares that she has loved him all the time. He takes her, radiant, into his arms.

CRISTOFORO COLOMBO

Opera in three acts and an epilogue, by Alberto Franchetti, text by Luigi Illica. Produced, Genoa, 1892; in revised version, same year, at La Scala, Milan. Metropolitan Opera House, Philadelphia, November 20, 1913, with Titta Ruffo.

CHARACTERS

CRISTOFORO COLOMBO _Baritone_ QUEEN ISABELLA OF SPAIN _Soprano_ DON FERNANDO GUEVARA, Captain of the Royal Guards _Tenor_ DON ROLDANO XIMENES, Spanish Knight _Bass_ MATHEOS, Foreman of the Crew _Tenor_ ANACOANA, Indian Queen _Mezzo-Soprano_ IGUAMOTA, her daughter _Soprano_ BOBADILLA, False Messenger of the King of Spain _Bass_

_Time_--Before, during, and soon after Columbus's voyage of discovery.

_Place_--Spain and America.

In act first, on the square in Salamanca, _Colombo_ learns that the council has rejected his plans. In the convent of San Stefano _Queen Isabella_ is praying. _Colombo_ tells her of the council's acts. She promises him the ships. In act second, on the _Santa Maria_, the sailors mutiny. At the critical moment _Colombo_ points to a distant shore. In act three, _Roldano_, an enemy to _Colombo_, has slain an Indian king. The Indian queen, _Anacoana_, pretends to love her husband's slayer, hoping for opportunity to avenge his death. But an Indian uprising is quelled and _Bobadilla_, a false messenger arriving from Spain, announces that _Colombo_ has been deposed from authority, and _Roldano_ been made viceroy in his stead.

The epilogue shows the royal tombs of Spain. _Colombo_--the librettist here stretching historical license--learning that _Queen Isabella_ has died and is buried here, expires upon her tomb.

CRISPINO E LA COMARE

(THE COBBLER AND THE FAIRY)

Opera "Bouffe" in three acts by Luigi and Federico Ricci; text by Francesco Maria Piave. Produced, Venice, 1850.

CHARACTERS

CRISPINO, a cobbler _Baritone_ ANNETTA, his wife, a ballad singer _Soprano_ COUNT DEL FIORE _Tenor_ FABRIZIO, a physician _Bass_ MIRABOLANO, an apothecary _Tenor_ DON ASDRUBALE, a miser _Bass_ LA COMARE, a fairy _Mezzo-Soprano_ BORTOLO, a mason _Bass_ LISETTA, ward of DON ASDRUBALE _Soprano_

Doctors, Scholars, Citizens.

_Place_--Venice.

_Time_--Seventeenth Century.

## Act I. _Crispino_, the cobbler, and _Annetta_, his wife, the ballad

singer, are in sore straits. _Don Asdrubale_, their landlord, who is a miser, is about to put them out for non-payment of rent, but hints that if _Annetta_ will respond to his suit he may reconsider. _Crispino_, in desperation, runs away, and is followed by _Annetta_. He is about to drown himself in a well when a fairy appears to him. She predicts that he will be a famous doctor. _Crispino_ and _Annetta_ rejoice.

## Act II. _Crispino_ nails up a physician's sign. The neighbours rail,

but soon a mason is brought in severely hurt, and, though the doctors fail to bring him around, _Crispino_ cures him.

## Act III. _Crispino_, overbearing since his good fortune, has built a

fine house. He ignores former friends and even is unkind to _Annetta_. He even berates the _Fairy_. Suddenly he is in a cavern. The _Fairy's_ head has turned into a skull. She has become Death. Humbled, he begs for another glimpse of _Annetta_ and the children. He awakes to find himself with them and to hear a joyous song from _Annetta_.

LORELEY

Alfred Catalani's "Loreley" was presented by the Chicago Opera Company for the first time in New York, at the Lexington Theatre, on Thursday evening, February 13, 1919, with Anna Fitziu, Florence Macbeth, Virgilio Lazzari, Alessandro Dolci, and Giacomo Rimini. The librettists are Messrs. D'Ormeville and Zanardini.

The legendary siren who sits combing her hair on a rock in the traditional manner, is in this opera the reincarnated spirit of a young orphan, who has been jilted by her fiancé, _Walter_, Lord of Oberwessel. When the faithless young man is about to marry another beautiful maiden, _Anna_, _Loreley_ casts her spell upon him, and _Anna_, too, is thrown over. _Walter_ follows _Loreley_ to a watery grave, and _Anna_ dies of grief.

FEDORA

Opera in three acts, by Umberto Giordano; text, after the Sardou drama, by Colautti. Produced, Milan, 1898.

CHARACTERS

PRINCESS FEDORA _Soprano_ COUNT LORIS _Tenor_ COUNTESS OLGA _Soprano_ DE SIRIEX, a diplomat _Baritone_ GRECH, a police officer _Bass_ DMITRI, a groom _Contralto_ CYRIL, a coachman _Baritone_ BOROV, a doctor _Baritone_ BARON ROUVEL _Baritone_

_Time_--Present.

_Place_--Paris and Switzerland.

## Act I. Home of _Count Vladimir_, St. Petersburg. While the beautiful

_Princess Fedora_ awaits the coming of her betrothed, _Count Vladimir_, he is brought in, by _De Siriex_, mortally wounded. Suspicion for the murder falls upon _Count Loris_. _Fedora_ takes a Byzantine jewelled cross from her breast and swears by it to avenge her betrothed.

## Act II. Salon of _Fedora_ in Paris. _Loris_ is entertained by her. She

uses all her arts of fascination in hope of securing proof of his guilt. He falls desperately in love with her, and she succeeds in drawing from him a confession of the murder. _Grech_, a police officer, plans to take _Loris_ after all the guests have left. Then, however, _Loris_ tells her further that he killed the _Count_ because he betrayed his young wife and brought about her untimely death. _Fedora_, who herself has fallen in love with _Loris_, now takes him into her arms. But the trap is ready to be sprung. She is, however, able to escape with him.

## Act III. Switzerland. _Loris_ and _Fedora_ are married. _Loris's_

footsteps, however, are followed by a spy. _Fedora_ learns that because of _Loris's_ act his brother has been thrown into prison and has died there. _Loris's_ mother has died of shock. He discovers that it was _Fedora_ who set the secret service on his track. He is about to kill her when, in despair, she swallows poison. _Loris_ now pleads with her to live, but it is too late. She dies in his arms.

GERMANIA

Opera in a prologue, two acts and an epilogue, by Alberto Franchetti; text by Luigi Illica. Produced, Milan, March 11, 1902; in this country, January 22, 1910.

CHARACTERS

FREDERICK LOEWE, member of the brotherhood _Tenor_ CARL WORMS, member of the brotherhood _Baritone_ GIOVANNI PALM, member of the brotherhood _Bass_ CRISOGONO, member of the brotherhood _Baritone_ STAPPS, Protestant priest _Bass_ RICKE, a Nuremberg maiden _Soprano_ JANE, her sister _Mezzo-Soprano_ LENA ARMUTH, a peasant woman _Mezzo-Soprano_ JEBBEL, her nephew _Soprano_ LUIGI LÜTZOW, an officer _Bass_ CARLO KÖRNER, an officer _Tenor_ PETERS, a herdsman _Bass_ SIGNORA HEDVIGE _Mezzo-Soprano_ CHIEF OF POLICE _Bass_

_Time_--Napoleonic Wars.

_Place_--Germany.

Prologue. An Old Mill near Nuremberg. Students under _Palm_ are shipping out in grain-bags literature directed against the invader--Napoleon. _Ricke_ tells _Worms_, whose mistress she has been, that her sweetheart, the poet _Loewe_, will soon return, and that she must confess to him her guilty secret. _Worms_ dissuades her. _Loewe_ arrives and is joyously welcomed by his comrades. The police break in, arrest _Palm_, and take him off to be executed.

## Act I. A Hut in the Black Forest. Seven years are supposed to have

passed. _Loewe_, his aged mother, and _Ricke_ and _Jane_ have found refuge here from the victorious troops of Napoleon. _Worms_ is thought to be dead. _Loewe_ is to be married to _Ricke_. But suddenly the voice of _Worms_ is heard in the forest. _Loewe_ joyously meets his old friend, who, however, is much disconcerted at the sight of _Ricke_, and goes away. _Ricke_ flees from her husband, who concludes that she has fled with _Worms_.

## Act II. Secret Cellar at Koenigsberg. _Worms_ and others plot to

overthrow Napoleon. _Loewe_ challenges _Worms_ to a duel. _Worms_, penitent, asks _Loewe_ to kill him. But the preparations are stayed by _Queen Louise_. She declares they should be fighting against Napoleon, not against each other.

Epilogue. Battlefield of Leipzig. Napoleon has been defeated. The great field is strewn with dead and dying. Among the latter, _Ricke_, still loving _Loewe_, finds him. He asks her to forgive _Worms_, who lies dead. She forgives the dead man, then lies down beside her dying husband. Distant view of the retreat of Napoleon's shattered legions.

Modern French Opera

The contemporaries and successors of Bizet wrote many charming operas that for years have given pleasure to large audiences. French opera has had generous representation in New York. Offenbach's "Tales of Hoffmann," Delibes's "Lakmé," Saint-Saëns's "Samson et Dalila," Massenet's "Manon" are among the most distinguished works of this school.

"Les Contes d'Hoffmann"; a fanciful opera in four acts; words by MM. Michel Carré and Jules Barbier; posthumous music by Jacques Offenbach, produced at the Opéra Comique on February 10, 1881. "Les Contes d'Hoffmann" had been played thirty years before, on March 31, 1851, at the Odéon, in the shape of a comedy. Such as it was designed to be, the work offers an excellent frame for the music, bringing on the stage in their fantastic form three of the prettiest tales of the German story-teller, connected with each other in an ingenious fashion, with the contrasts which present themselves. Lyrical adaptation therefore appeared quite natural and it was done with much taste. Offenbach had almost entirely finished its music when death came to surprise him. At the same time he had not put his score into orchestral form and it was Ernest Girard who was charged with finishing this and writing the instrumentation, which it was easy to perceive at hearing it, Girard being a musician taught differently from the author of the "Belle Hélène" and "Orphée aux Enfers." It is right to say that several passages of the Contes d'Hoffmann were welcome and testify to a real effort by the composer. If to that be added the interest that the libretto offers and the excellence of an interpretation entrusted to Mlle. Adèle Isaac (_Stella_, _Olympia_, _Antonia_), to MM. Talazac (_Hoffmann_), Taskin (_Lindorf_, _Coppélius_, _Dr. Miracle_), Belhomme (_Crespel_), Grivot (_Andrès_, _Cochenille_, _Frantz_), Gourdon (_Spalanzani_), Collin (_Wilhelm_), Mlles. Marguerite Ugalde (_Nicklausse_), Molé (_the nurse_), one will understand the success which greeted the work. The Contes d'Hoffmann was reproduced in 1893 at the Renaissance, during the transient directorship of M. Détroyat, who gave to this theatre the title of Théâtre Lyrique.

LAKMÉ

Opera in three acts by Delibes; libretto by Gille and Gondinet.

[Illustration: Photo copyright, 1916, by Victor Georg

Galli-Curci as Lakmé]

_Lakmé_ is the daughter of _Nilakantha_, a fanatical Brahmin priest. While he nurses his hatred of the British invader, his daughter strolls in her garden, singing duets with her slave _Mallika_. An English officer, one _Gerald_, breaks through the bambou fence that surrounds _Nilakantha's_ retreat, in a ruined temple in the depths of an Indian forest. He courts _Lakmé_ who immediately returns his love. _Nilakantha_ seeing the broken fence at once suspects an English invader. In act two the old man disguised as a beggar is armed with a dagger. _Lakmé_ is disguised as a street singer. Together they search for the profaner of the sacred spot at a market. It is here that she sings the famous Bell Song. _Gerald_ recognizes _Lakmé_ as _Nilakantha_ recognizes the disturber of his peace. A dagger thrust lays _Gerald_ low. _Lakmé_ and her slave carry him to a hut hidden in the forest. During his convalescence the time passes pleasantly. The lovers sing duets and exchange vows of undying love. But _Frederick_, a brother officer and a slave to duty, informs _Gerald_ that he must march with his regiment. _Lakmé_ makes the best of the situation by eating a poisonous flower which brings about her death.

The story is based by Gondinet and Gille upon "Le Mariage de Loti." _Ellen_, _Rose_, and _Mrs. Benson_, Englishwomen, hover in the background of the romance. But their parts are of negligible importance, and in fact when Miss Van Zandt and a French Company first gave the opera in London they were omitted altogether, some said wisely. The opera was first presented in Paris at the Opéra Comique with Miss Van Zandt. It was first sung in New York by the American Opera Company at the Academy of Music, March 1, 1886. The first _Lakmé_ to be heard in New York was Pauline L'Allemand, the second Adelina Patti, this time in 1890 and at the Metropolitan Opera House. Mme. Sembrich and Luisa Tetrazzini sang it later.

SAMSON ET DALILA

Opera in three acts and four scenes. Music by Saint-Saëns; text by Ferdinand Lemaire. Produced: Weimar, December 2, 1877.

CHARACTERS

DALILA _Mezzo-Soprano_ SAMSON _Tenor_ HIGH PRIEST OF DAGON _Baritone_ ABIMELECH, satrap of Gaza _Bass_ AN OLD HEBREW _Bass_ THE PHILISTINES' WAR MESSENGER _Tenor_

_Place_--Gaza.

_Time_--1136 B.C.

## Act I. Before the curtain rises we hear of the Philistines at Gaza

forcing the Israelites to work. When the curtain is raised we see in the background the temple of Dagon, god of the Philistines. With the lamentations of the Jews is mixed the bitter scorn of _Abimelech_. But _Samson_ has not yet expressed a hope of conquering. His drink-inspired songs agitate his fellow countrymen so much that it now amounts to an insurrection. _Samson_ slays _Abimelech_ with the sword he has snatched from him and Israel's champion starts out to complete the work. _Dagon's_ high priest may curse, the Philistines are not able to offer resistance to the onslaught of the enemy. Already the Hebrews are rejoicing and gratefully praise God when there appear the Philistines' most seductive maidens, _Dalila_ at their head, to do homage to the victorious _Samson_. Of what use is the warning of an old Hebrew? The memory of the love which she gave him when "the sun laughed, the spring awoke and kissed the ground," the sight of her ensnaring beauty, the tempting dances ensnare the champion anew.

## Act II. The beautiful seductress tarries in the house of her victim.

Yes, her victim. She had never loved the enemy of her country. She hates him since he left her. And so the exhortation of the high priest to revenge is not needed. _Samson_ has never yet told her on what his superhuman strength depends. Now the champion comes, torn by irresolute reproaches. He is only going to say farewell to her. Her allurements in vain entice him, he does not disclose his secret. But he will not suffer her scorn and derision; overcome, he pushes her into the chamber of love. And there destiny is fulfilled. _Dalila's_ cry of triumph summons the Philistines. Deprived of his hair, the betrayed champion is overcome.

[Illustration: Copyright photo by White

Caruso as Samson in "Samson and Dalila"]

## Act III. In a dungeon the blinded giant languishes. But more

tormenting than the corporal disgrace or the laments of his companions are the reproaches in his own breast. Now the doors rattle. _Beadles_ come in to drag him to the Philistines' celebration of their victory--(change of scene). In _Dagon's_ temple the Philistine people are rejoicing. Bitter scorn is poured forth on _Samson_ whom the high priest insultingly invites to sing a love-song to _Dalila_. The false woman herself mocks the powerless man. But _Samson_ prays to his God. Only once again may he have strength. And while the intoxication of the festival seizes on everybody, he lets himself be led between the two pillars which support the temple. He clasps them. A terrible crash--the fragments of the temple with a roar bury the Philistine people and their conqueror.

LE ROI D'YS

Opera by Lalo, produced at the Opéra Comique in 1888, and given in London in 1901. The story is founded upon a Breton legend. _Margared_ and _Rozenn_, daughters of the King of Ys, love _Mylio_. But the warrior has only eyes for _Rozenn_. In revenge _Margared_ betrays her father's city to _Karnac_, a defeated enemy. To him she gives the keys of the sluices which stand between the town and the sea. When the town and all its inhabitants are about to be swept away, the girl in remorse throws herself into the sea. St. Corentin, patron saint of Ys, accepts her sacrifice and the sea abates.

GRISÉLIDIS

Massenet's "Grisélidis," a lyric tale in three acts and a prologue, poem by Armand Silvestre and Eugène Morand based on the "Mystery" in free verse by the same authors, produced at the Comédie-Française, Paris, May 15, 1891, was given for the first time in America, January 19, 1910, at the Manhattan Opera House, New York. The story of the patient _Griselda_ has been handed down to posterity by Boccaccio in the Decameron, 10th day, 10th novel, and by Chaucer, who learned it, he said from Petrarch at Padua, and then put it into the mouth of the Clerk of Oxenforde.

[Illustration: Copyright photo by Mishkin

Mary Garden as Grisélidis]

The old ballad of "Patient Grissell" begins thus:

A noble marquess As he did ride a-hunting, Hard by a forest side, A fair and comely maiden, As she did sit a-spinning, His gentle eye espied.

Most fair and lovely And was of comely grace was she, Although in simple attire, She sang most sweetly, With pleasant voice melodiously, Which set the lord's heart on fire.

An English drama, "Patient Grissel," was entered at Stationers' Hall in 1599. The word "Grizel," the proverbial type of a meek and patient wife, crept into the English language through this story. Chaucer wrote:

No wedded man so hardy be tassaille His wyves patience, in hope to fynde Grisildes, for in certain he shall fail.

Several operas on this subject were written before Massenet's, but the ballet "Griseldis: Les Cinq Sens" by Adam (Paris, 1848), has another story. So too has Flotow's comic opera, "Griselda, l'esclave du Camoens."

Silvestre and Morand represented _Griselda_ as tempted by _Satan_ in person that he might win a wager made with the marquis. When the "Mystery" was given in 1891 the cast included Miss Bartet as _Griseldis_; Coquelin cadet as _Le Diable_; Silvain as the _Marquis de Saluce_ and A. Lambert, fils, as _Alain_. It was played at fifty-one consecutive performances. According to Mr. Destranges, Bizet wrote music for a "Grisélidis" with a libretto by Sardou, but most of this was destroyed. Only one air is extant, that is the air sung by Micaela in "Carmen." According to the same authority Massenet's score lay "En magasin" for nearly ten years. Thus the music antedated that of "Thaïs" (1894), "La Navarraise" (1894), "Sapho" (1897), "Cendrillon" (1899), and it was not performed until 1901.

"Grisélidis" was produced at the Opéra Comique, Paris, November 20, 1901, with Lucienne Bréval, Lucien Fugère, Messrs. Maréchal and Dufranne. André Messager conducted. On November 23, 1901, the opera drew the largest receipts known thus far in the history of the Opéra Comique--9538 francs.

Mr. Philip Hale tells the story of the opera as follows:

"The scene is in Provence and in the fourteenth century. The _Marquis of Saluzzo_, strolling about in his domains, met _Griselda_, a shepherdess, and he loved her at first sight. Her heart was pure; her hair was ebon black; her eyes shone with celestial light. He married her and the boy _Loÿs_ was born to them. The happy days came to an end, for the _Marquis_ was called to the war against the Saracens. Before he set out, he confided to the prior his grief at leaving _Griselda_. The prior was a Job's comforter: 'Let my lord look out for the devil! When husbands are far away, _Satan_ tempts their wives.' The _Marquis_ protests for he knew the purity of _Griselda_; but as he protested he heard a mocking laugh, and he saw at the window an ape-like apparition. It was the devil all in green. The _Marquis_ would drive him away, but the devil proposed a wager: he bet that he would tempt _Griselda_ to her fall, while the _Marquis_ was absent. The _Marquis_ confidently took up the wager, and gave the devil his ring as a pledge. The devil of these librettists had a wife who nagged her spouse, and he in revenge sought to make other husbands unhappy. He began to lay snares for _Griselda_; he appeared in the disguise of a Byzantine Jew, who came to the castle, leading as a captive, his own wife, _Fiamina_, and he presented her: 'This slave belongs to the _Marquis_. He bids you to receive her, to put her in your place, to serve her, to obey her in all things. Here is his ring.' _Griselda_ meekly bowed her head. The devil said to himself that _Griselda_ would now surely seek vengeance on her cruel lord. He brought _Alain_ by a spell to the castle garden at night--_Alain_, who had so fondly loved _Griselda_. She met him in an odorous and lonely walk. He threw himself at her feet and made hot love. _Griselda_ thought of her husband who had wounded her to the quick, and was about to throw herself into _Alain's_ arms, when her little child appeared. _Griselda_ repulsed _Alain_, and the devil in his rage bore away the boy, _Loÿs_. The devil came again, this time as a corsair, who told her that the pirate chief was enamoured of her beauty; she would regain the child if she would only yield; she would see him if she would go to the vessel. She ran to the ship, but lo! the _Marquis_, home from the East. And then the devil, in another disguise, spoke foully of _Griselda's_ behaviour, and the _Marquis_ was about to believe him, but he saw _Griselda_ and his suspicions faded away. The devil in the capital of a column declared that _Loÿs_ belonged to him. Foolish devil, who did not heed the patron saint before whom the _Marquis_ and _Griselda_ were kneeling. The cross on the altar was bathed in light; the triptych opened; there, at the feet of St. Agnes, was little _Loÿs_ asleep.

"The opera begins with a prologue which is not to be found in the version played at the Comédie-Française in 1891. The prologue acquaints us with the hope of the shepherd _Alain_ that he may win _Griselda_: with the _Marquis_ meeting _Griselda_ as he returns from the chase, his sudden passion for her, his decision to take the young peasant as his wife, the despair of _Alain_. This prologue, with a fine use of themes that are used in the opera as typical, is described as one of the finest works of Massenet, and even his enemies among the ultra-moderns admit that the instrumentation is prodigiously skilful and truly poetic.

"The first act pictures the oratory of _Griselda_, and ends with the departure of the _Marquis_.

"The second act passes before the château, on a terrace adorned with three orange trees, with the sea glittering in the distance. It is preceded by an entr'acte of an idyllic nature. It is in this act that the devil and his wife enter disguised, the former as a slave merchant, the latter as an odalisque. In this act the devil, up to his old tricks, orders the flowers to pour madding perfumes into the air that they may aid in the fall of _Griselda_. And in this act _Alain_ again woos his beloved, and the devil almost wins his wager.

"The third act is in _Griselda's_ oratory. At the end, when _Loÿs_ is discovered at the feet of St. Agnes, the retainers rush in and all intone the 'Magnificat' and through a window the devil is seen in a hermitage, wearing cloak and hood.

"The passages that have excited the warmest praise are the prologue, _Griselda's_ scene in the first act, 'L'Oiseau qui pars à tire-d'aile,' and the quiet ending of the act after the tumult of the departure to the East; in the second act, the prelude, the song, 'Il

## partit au printemps,' the invocation, and the duet; in the third act,

a song from the _Marquis_, and the final and mystic scene."

THAÏS

"Thaïs," a lyric comedy in three acts and seven scenes, libretto by M. Louis Gallet, taken from the novel by M. Anatole France which bears the same title; music by Massenet; produced at the Opéra on March 16, 1894. It had been, I think, more than sixty years since the Opéra had applied the designation of "lyric comedy" to a work produced on its stage, which is a little too exclusively solemn. As a matter of fact there is no question in Thaïs of one of those powerful and passionate dramas, rich in incidents and majestic dramatic strokes, or one of those subjects profoundly pathetic like those of "Les Huguenots," "La Juive," or "Le Prophète." One could extract from the intimate and mystic novel of "Thaïs" only a unity and simplicity of action without circumlocutions or complications, developing between two important persons and leaving all the others in a sort of discreet shadow, the latter serving only to emphasize the scenic movement and to give to the work the necessary life, color, and variety.

[Illustration: Copyright photo by Mishkin

Mary Garden as Thaïs]

[Illustration: Photo by White

Farrar and Amato as Thaïs and Athanaël]

The librettist had the idea of writing his libretto in prose, rhymed, if not entirely in blank verse, in a measured prose to which, in a too long article reviewing it, he gave the name of "poésie mélique." This explanation left the public indifferent, the essential for them being that the libretto be good and interesting and that it prove useful to the musician. The action of "Thaïs" takes place at the end of the fourth century. The first act shows us in a corner of the Theban plain on the banks of the Nile a refuge of cenobites. The good fathers are finishing a modest repast at their common table. One place near them remains empty, that of their comrade _Athanaël_ (Paphnuce in the novel) who has gone to Alexandria. Soon he comes back, still greatly scandalized at the sensation caused in the great city by the presence of a shameless courtesan, the famous actress and dancer, _Thaïs_, who seems to have turned the sceptical and light heads of its inhabitants. Now in his younger days _Athanaël_ had known this _Thaïs_, and in Alexandria too, which he left to consecrate himself to the Lord and to take the robe of a religious.

_Athanaël_ is haunted by the memory of _Thaïs_. He dreams that it would be a pious and meritorious act to snatch her from her unworthy profession and from a life of debauchery which dishonours her and of which she does not even seem to be conscious. He goes to bed and sleeps under the impress of this thought, which does not cease to confront him, so much so that he sees her in a dream on the stage of the theatre of Alexandria, representing the Loves of Venus. He can refrain no longer and on awaking he goes to find her again, firmly resolved to do everything to bring about her conversion.

Arrived at Alexandria, _Athanaël_ meets an old friend, the beau _Nicias_, to whom he makes himself known and who is the lover of _Thaïs_ for a day longer because he has purchased her love for a week which is about to end. _Athanaël_ confides his scheme to _Nicias_ who receives him like a brother and makes him put on clothes which will permit him to attend a fête and banquet which he is to give that very night in honour of _Thaïs_. Soon he finds himself in the presence of the courtesan who laughs at him at his first words and who engages him to come to see her at her house if he expects to convert her. He does not fail to accept this invitation and once in _Thaïs's_ house tells her to be ashamed of her disorderly life and with eloquent words reveals to her the heavenly joys and the felicities of religion. _Thaïs_ is very much impressed; she is on the point of yielding to his advice when afar off in a song are heard the voices of her companions in pleasure. Then she repels the monk, who, without being discouraged, goes away, saying to her: "At thy threshold until daylight I will await thy coming."

In fact here we find him at night seated on the front steps of _Thaïs's_ house. Time has done its work and a few hours have sufficed for the young woman to be touched by grace. She goes out of her house, having exchanged her rich garments for a rough woollen dress, finds the monk, and begs him to lead her to a convent. The conversion is accomplished.

But _Athanaël_ has deceived himself. It was not love of God but it was jealousy that dictated his course without his being aware of it. When he has returned to the Thebaid after having conducted _Thaïs_ to a convent and thinks he has found peace again, he perceives with horror that he loves her madly. His thoughts without ceasing turn to her and in a new dream, a cruel dream, he seems to see _Thaïs_, sanctified and purified by remorse and prayer, on the point of dying in the convent where she took refuge. On awaking, under the impression of this sinister vision, he hurries to the convent where _Thaïs_ in fact is near to breathing her last breath. But he does not wish that she die; and while she, in ecstasy, is only thinking of heaven and of her purification, he wants to snatch her from death and only talks to her of his love. The scene is strange and of real power. _Thaïs_ dies at last and _Athanaël_ falls stricken down beside her.

[Illustration: Copyright photo by Dupont

Farrar as Thaïs]

[Illustration: Photo by White

Farrar and Amato as Thaïs and Athanaël]

This subject, half mystic, half psychological, was it really a favourable one for theatrical action? Was it even treated in such a way as to mitigate the defects it might present in this connection? We may doubt it. Nevertheless M. Massenet has written on this libretto of "Thaïs" a score which, if it does not present the firm unity of those of "Manon" and of "Werther," certainly does not lack either inspiration or colour or originality and in which moreover are found in all their force and all their expansion the astonishing technical qualities of a master to whom nothing in his art is foreign. All the music of the first act, which shows us the retreat of the cenobites, is of a sober and severe colour, with which will be contrasted the movement and the gracefulness of the scene at the house of _Nicias_. There should be noted the peaceful chorus of monks, the entrance of _Athanaël_, the fine phrase which follows his dream: "Toi qui mis la pitié dans nos âmes," and the very curious effect of the scene where he goes away again from his companions to return to Alexandria. In the second act the kind of invocation placed in the mouth of the same _Athanaël_: "Voilà donc la terrible cité," written on a powerful rhythm, is followed by a charming quartette, a passage with an emphasis full of grace and the end of which especially is delightful. I would indicate again in this act the rapid and kindly dialogue of _Nicias_ and of _Thaïs_: "Nous nous sommes aimés une longue semaine," which seems to conceal under its apparent indifference a sort of sting of melancholy. I pass over the air of _Thaïs_: "Dis-moi que je suis belle," an air of bravado solely destined to display the finish of a singer, to which I much prefer the whole scene that follows, which is only a long duet in which _Athanaël_ tries to convert _Thaïs_. The severe and stern accents of the monk put in opposition to the raillery and the voluptuous outbreaks (buoyancy) of the courtesan produce a striking contrast which the composer has known how to place in relief with a rare felicity and a real power. The symphonic intermezzo which, under the name of "Méditation," separates this act from the following, is nothing but an adorable violin solo, supported by the harps and the development of which, on the taking up again of the first motif by the violin, brings about the entrance of an invisible chorus, the effect of which is purely exquisite. The curtain then rises on the scene in which _Thaïs_, who has put on a rough woollen dress, goes to seek the monk to flee with him. Here there is a duet in complete contrast with the preceding. _Athanaël_ wants _Thaïs_ to destroy and burn whatever may preserve the memory of her past. She obeys, demanding favour only for a little statue of Eros: "L'amour est un vertu rare." It is a sort of invocation to the purity of love, written, if one may say so, in a sentiment of chaste melancholy and entirely impressed with gracefulness and poetry. But what should be praised above all is the final scene, that of the death of _Thaïs_. This scene, truly pathetic and powerful, has been treated by the composer with a talent of the first order and an incontestable superiority. There again he knew wonderfully well how to seize the contrast between the pious thoughts of _Thaïs_, who at the moment of quitting life begins to perceive eternal happiness, and the powerless rage of _Athanaël_, who, devoured by an impious love, reveals to her, without her understanding or comprehending it, all the ardour of a passion that death alone can extinguish in him. The touching phrases of _Thaïs_, the despairing accents of _Athanaël_, interrupted by the desolate chants of the nuns, companions of the dying woman, provoke in the hearer a poignant and sincere emotion. That is one of the finest pages we owe to the pen of M. Massenet. We must point out especially the return of the beautiful violin phrase which constitutes the foundation of the intermezzo of the second act.

The work has been very well played by Mlle. Sybil Sanderson (_Thaïs_), M. Delmas (_Athanaël_), M. Alvarez (_Nicias_), Mmes. Héglon and Marcy, and M. Delpouget.

MANON

Opera in five acts by Massenet; words by Henri Meilhac and Philippe Gille, after the story by Abbé Prévost. Produced Opéra Comique, Paris, January 19, 1884; Théâtre de la Monnaie, Brussels, March 15, 1884. In English, by the Carl Rosa Company, Liverpool, January 17, 1885; and at Drury Lane, London, May 7, 1885, with Marie Roze, Barton McGuckin, and Ludwig. In French, Covent Garden, May 14, 1894. Carcano Theatre, Milan, October 19, 1893. Academy of Music, New York, December 23, 1885, with Minnie Hauck (_Manon_), Giannini (_Des Grieux_), and Del Puente (_Lescaut_); Metropolitan Opera House, January 16, 1895, with Sibyl Sanderson and Jean de Reszke.

CHARACTERS

CHEVALIER DES GRIEUX _Tenor_ COUNT DES GRIEUX, his father _Bass_ LESCAUT, of the Royal Guard, cousin to Manon _Baritone_ GUILLOT DE MORFONTAINE, Minister of Finance, an old beau _Bass_ DE BRÉTIGNY, a nobleman _Baritone_ MANON _Soprano_ POUSSETTE, JAVOTTE, ROSETTE, actresses _Sopranos_

Students, innkeeper, a sergeant, a soldier, gamblers, merchants and their wives, croupiers, sharpers, guards, travellers, ladies, gentlemen, porters, postilions, an attendant at the Monastery of St. Sulpice, the people.

_Time_--1821.

_Place_--Amiens, Paris, Havre.

## Act I. Courtyard of the inn at Amiens. _Guillot_ and _De Brétigny_,

who have just arrived with the actresses _Poussette_, _Javotte_, and _Rosette_, are shouting for the innkeeper. Townspeople crowd about the entrance to the inn. They descry a coach approaching. _Lescaut_, who has alighted from it, enters followed by two guardsmen. Other travellers appear amid much commotion, amusement, and shouting on the part of the townspeople. He is awaiting his cousin _Manon_, whom he is to conduct to a convent school, and who presently appears and gives a sample of her character, which is a mixture of demureness and vivacity, of serious affection and meretricious preferment, in her opening song, "Je suis encore tout étourdie" (A simple maiden fresh from home), in which she tells how, having left home for the first time to travel to Amiens, she sometimes wept and sometimes laughed. It is a chic little song.

_Lescaut_ goes out to find her luggage. From the balcony of the inn the old roué _Guillot_ sees her. She is not shocked, but laughs at his hints that he is rich and can give her whatever she wants. _De Brétigny_, who, accompanied by the actresses, comes out on the balcony in search of _Guillot_, also is much struck with her beauty. _Guillot_, before withdrawing with the others from the balcony, softly calls down to her that his carriage is at her disposal, if she will but enter it and await him. _Lescaut_ returns but at the same time his two guardsmen come after him. They want him to join with them in gambling and drinking. He pretends to _Manon_ that he is obliged to go to his armoury for a short time. Before leaving her, however, he warns her to be careful of her actions. "Regardez-moi bien dans les yeux" (Now give good heed to what I say).

Left alone, _Manon_ expresses admiration for the jewels and finery worn by the actresses. She wishes such gems and dresses might belong to her. The _Chevalier des Grieux_, young, handsome, ardent, comes upon the scene. He loves _Manon_ at first sight. Nor does she long remain unimpressed by the wooing of the _Chevalier_. Beginning with his words, "If I knew but your name," and her reply, "I am called Manon," the music soon becomes an impassioned love duet. To him she is an "enchantress." As for her--"À vous ma vie et mon âme" (To you my life and my soul).

_Manon_ sees _Guillot's_ postilion, who has been told by his master to take his orders from _Manon_. She communicates to _Des Grieux_ that they will run away to Paris in _Guillot's_ conveyance. "Nous vivrons à Paris" ('Tis to Paris we go), they shout in glad triumph, and are off. There is much confusion when the escape is discovered. Ridicule is heaped upon _Guillot_. For is it not in his carriage, in which the old roué hoped to find _Manon_ awaiting him, that she has driven off with her young lover!

## Act II. The apartment of _Des Grieux_ and _Manon_, Rue Vivienne,

Paris. _Des Grieux_ is writing at his desk. Discovering _Manon_ looking over his shoulder, he reads her what he has written--a letter to his father extolling her charms and asking permission to marry her.

[Illustration: Copyright photo by Mishkin

Caruso as Des Grieux in "Manon"]

The scene is interrupted by knocking and voices without. The maid servant announces that two guardsmen demand admission. She whispers to _Manon_, "One of them loves you--the nobleman, who lives near here." The pair are _Lescaut_ and _De Brétigny_, the latter masquerading as a soldier in _Lescaut's_ regiment. _Lescaut_ scents more profit for himself and for his cousin _Manon_ in a liaison between her and the wealthy nobleman than in her relations with _Des Grieux_. Purposely he is gruff and demands "yes" or "no" to his question as to whether or not _Des Grieux_ intends to marry the girl. _Des Grieux_ shows the letter he is about to despatch to his father. Apparently everything is satisfactory. But _De Brétigny_ manages to convey to _Manon_ the information that the _Chevalier's_ father is incensed at his son's mode of life, and has arranged to have him carried off that night. If she will keep quiet about it, he (_De Brétigny_) will provide for her handsomely and surround her with the wealth and luxury she craves. She protests that she loves _Des Grieux_--but is careful not to warn him of the impending abduction.

_Lescaut_ and the nobleman depart, after _Lescaut_, sly fellow, has blessed his "children," as he calls _Manon_ and _Des Grieux_. Shortly afterwards the latter goes out to despatch the letter to his father. _Manon_, approaching the table, which is laid for supper, sings the charming air, "Adieu, nôtre petite table" (Farewell, dear little table). This is followed by the exquisite air with harp accompaniment, "Le Rève de Manon" (A vision of Manon), which is sung by _Des Grieux_, who has re-entered and describes her as he saw her in a dream.

There is a disturbance outside. _Manon_ knows that the men who will bear away her lover have arrived. She loves _Des Grieux_, but luxury means more to her than love. An effort is made by her to dissuade the _Chevalier_ from going outside to see who is there--but it is a half-hearted attempt. He goes. The noise of a struggle is heard. _Manon_, "overcome with grief," exclaims, "He has gone."

## Act III. Scene I. The Cours de la Reine, Paris, on the day of a

popular fête. Stalls of traders are among the trees. There is a pavilion for dancing. After some lively preliminary episodes between the three actresses and _Guillot_, _De Brétigny_ enters with _Manon_. She sings a clever "Gavotte." It begins, "Obéissons, quand leur voix appelle" (List to the voice of Youth when it calleth).

The _Count des Grieux_, father of the _Chevalier_, comes upon the scene. From a conversation between him and _De Brétigny_, which _Manon_ overhears, she learns that the _Chevalier_ is about to enter the seminary of St. Sulpice and intends to take holy orders. After a duet between _Manon_ and the _Count_, who retires, the girl enters her chair, and bids the wondering _Lescaut_ to have her conveyed to the seminary.

## Scene II. Parlour in the Seminary of St. Sulpice. Nuns and visitors,

who have just attended religious service, are praising the sermon delivered by _Des Grieux_, who enters a little later attired in the garb of an abbé. The ladies withdraw, leaving _Des Grieux_ with his father, who has come in unobserved, and now vainly endeavours to dissuade his son from taking holy orders. Left alone, _Des Grieux_ cannot banish _Manon_ from his thoughts. "Ah! fuyez douce image" (Ah! depart, image fair), he sings, then slowly goes out.

Almost as if in answer to his soliloquy, the woman whose image he cannot put away enters the parlour. From the chapel chanting is heard. Summoned by the porter of the seminary, _Des Grieux_ comes back. He protests to _Manon_ that she has been faithless and that he shall not turn from the peace of mind he has sought in religious retreat.

Gradually, however, he yields to the pleading of the woman he loves. "N'est-ce plus ma main que cette main presse?... Ah! regarde-moi! N'est-ce plus Manon?" ("Is it no longer my hand, your own now presses?... Ah! look upon me! Am I no longer Manon?") The religious chanting continues, but now only as a background to an impassioned love duet--"Ah! Viens, Manon, je t'aime!" (Ah, Manon, Manon! I love thee.)

## Act IV. A fashionable gambling house in Paris. Play is going on.

_Guillot_, _Lescaut_, _Poussette_, _Javotte_, and _Rosette_ are of the company. Later _Manon_ and _Des Grieux_ come in. _Manon_, who has run through her lover's money, counsels the _Chevalier_ to stake what he has left on the game. _Des Grieux_ plays in amazing luck against _Guillot_ and gathers in winning after winning. "Faites vos jeux, Messieurs," cry the croupiers, while _Manon_ joyously sings, "Ce bruit de l'or, ce rire, et ces éclats joyeux" (Music of gold, of laughter, and clash of joyous sounds). The upshot of it all, however, is that _Guillot_ accuses the _Chevalier_ of cheating, and after an angry scene goes out. Very soon afterwards, the police, whom _Guillot_ has summoned, break in. Upon _Guillot's_ accusation they arrest _Manon_ and the _Chevalier_. "Ô douleur, l'avenir nous sépare" (Oh despair! Our lives are divided for ever), sings _Manon_, her accents of grief being echoed by those of her lover.

## Act V, originally given as a second scene to the fourth act. A lonely

spot on the road to Havre. _Des Grieux_ has been freed through the intercession of his father. _Manon_, however, with other women of her class, has been condemned to deportation to the French colony of Louisiana. _Des Grieux_ and _Lescaut_ are waiting for the prisoners to pass under an escort of soldiers. _Des Grieux_ hopes to release _Manon_ by attacking the convoy, but _Lescaut_ restrains him. The guardsman finds little difficulty in bribing the sergeant to permit _Manon_, who already is nearly dead from exhaustion, to remain behind with _Des Grieux_, between whom the rest of the opera is a dolorous duet, ending in _Manon's_ death. Even while dying her dual nature asserts itself. Feebly opening her eyes, almost at the last, she imagines she sees jewels and exclaims, "Oh! what lovely gems!" She turns to _Des Grieux_: "I love thee! Take thou this kiss. 'Tis my farewell for ever." It is, of course, this dual nature which makes the character drawn by Abbé Prévost so interesting.

* * * * *

"Manon" by Massenet is one of the popular operas in the modern repertoire. Its music has charm, and the leading character, in which Miss Farrar appears with such distinction, is both a good singing and a good acting rôle, a valuable asset to a prima donna. I have an autograph letter of Massenet's written, presumably to Sibyl Sanderson, half an hour before the curtain rose on the _première_ of "Manon," January 19, 1884. In it he writes that within that brief space of time they will know whether their hopes are to be confirmed, or their illusions dissipated. In New York, eleven years later, Miss Sanderson failed to make any impression in the rôle.

The beauty of Massenet's score is responsible for the fact that audiences are not troubled over the legal absurdity in the sentence of deportation pronounced upon _Manon_ for being a courtesan and a gambler's accomplice. In the story she also is a thief.

The last act is original with the librettists. In the story the final

## scene is laid in Louisiana (see Puccini's _Manon Lescaut_). The

effective scene in the convent of St. Sulpice was overlooked by Puccini, as it also was by Scribe, who wrote the libretto for Auber's "Manon." This latter work survives in the laughing song, "L'Éclat de Rire," which Patti introduced in the lesson scene in "Il Barbiere di Siviglia," and which Galli-Curci has revived for the same purpose.

LE CID

"Le Cid"; opera in four acts and ten scenes; the poem by MM. d'Ennery, Louis Gallet, and Édouard Blau; music by Massenet; produced at the Opéra on November 30, 1885. The authors of the libretto of "Le Cid" declared at the start of it that they had been inspired by Guillen de Castro and by Corneille. The sole masterpiece of Corneille which is built about a sort of psychological analysis of the character of _Chimène_ and of the continual conflict of the two feelings which divide her heart, in fact would not have given them sufficient action; on the other hand they would not have been able to find in it the pretext for adornments, for sumptuousness, for the rich stage setting which the French opera house has been accustomed for two centuries to offer to its public.

This is the way the opera is arranged: First act, first scene: at the house of the _Comte de Gormas_; scene between _Chimène_ and the _Infanta_. Second scene: entering the cathedral of Burgos. _Rodrigo_ is armed as a knight by the _King_. The _King_ tells _Don Diego_ that he names him governor of the _Infanta_. Quarrel of _Don Diego_ and _Don Gormas_. Scene of _Don Diego_ and _Don Rodrigo_: "Rodrigue, as-tu du coeur?" Second act, third scene: A street in Burgos at night. Stanzas by _Rodrigo_: "Percé jusques au fond du coeur." _Rodrigo_ knocks at the door of _Don Gormas_: "À moi, comte, deux mots!" Provocation; duel; death of _Don Gormas_. _Chimène_ discovers that _Rodrigo_ is the slayer of her father. Fourth scene: The public square in Burgos. A popular festival. Ballet. _Chimène_ arrives to ask the _King_ for justice. _Don Diego_ defends his son. A Moorish courier arrives to declare war on the _King_ on the part of his master. The _King_ orders _Rodrigo_ to go and fight the infidels. Third act, fifth scene: The chamber of _Chimène_: "Pleurez, pleurez, mes yeux, et fondez-vous en eau." Scene of _Chimène_ and _Rodrigo_. Sixth scene: the camp of _Rodrigo_. Seventh scene: _Rodrigo's_ tent. The vision. St. James appears to him. Eighth scene: the camp. The battle. Defeat of the Moors. Fourth act, ninth scene: The palace of the Kings at Granada. _Rodrigo_ is believed to be dead. _Chimène_ mourns for him: "Éclate ô mon amour, tu n'as plus rien à craindre." Tenth scene: A courtyard in the palace. _Rodrigo_ comes back as a conqueror. _Chimène_ forgives him. The end.

DON QUICHOTTE

Opera in five acts by Jules Massenet; text by Henri Cain, after the play by Jacques Le Lorrain, based on the romance of Cervantes. Produced, Monte Carlo, 1910.

CHARACTERS

LA BELLE DULCINÉE _Contralto_ DON QUICHOTTE _Bass_ SANCHO _Baritone_ PEDRO, burlesquer _Soprano_ GARCIAS, burlesquer _Soprano_ RODRIGUEZ _Tenor_ JUAN _Tenor_ TWO VALETS _Baritone_

TENEBRUN, chief, and other bandits, friends of Dulcinée, and others.

_Time_--The Middle Ages.

_Place_--Spain.

## Act I. Square in front of the house of _Dulcinée_, whose beauty people

praise in song. Into the midst of the throng ride _Don Quichotte_ and his comical companion, _Sancho_. Night and moonlight. _Don Quichotte_ serenades _Dulcinée_, arousing the jealousy of _Juan_, a lover of the professional beauty, who now appears and prevents a duel. She is amused by the avowals of _Don Quichotte_, and promises to become his beloved if he will recover a necklace stolen from her by brigands.

## Act II. On the way to the camp of the brigands. Here occurs the fight

with the windmill.

## Act III. Camp of the brigands. _Don Quichotte_ attacks them. _Sancho_

retreats. The Knight is captured. He expects to be put to death. But his courage, his grave courtesy, and his love for his _Dulcinée_, deeply impress the bandits. They free him and give him the necklace.

## Act IV. Fête at _Dulcinée's_. To the astonishment of all _Don

Quichotte_ and _Sancho_ put in their appearance. _Dulcinée_, overjoyed at the return of the necklace, embraces the Knight. He entreats her to marry him at once. Touched by his devotion, _Dulcinée_ disillusions him as to the kind of woman she is.

## Act V. A forest. _Don Quichotte_ is dying. He tells _Sancho_ that he

has given him the island he promised him in their travels; the most beautiful island in the world--the "Island of Dreams." In his delirium he sees _Dulcinée_. The lance falls from his hand. The gaunt figure in its rusty suit of armour--no longer grotesque, but tragic--stiffens in death.

CENDRILLON

CINDERELLA

Opera, in four acts, by Massenet, text by Henri Cain. Produced, Opéra Comique, Paris, May 24, 1899.

CHARACTERS

CINDERELLA _Soprano_ MME. DE LA HALTIÈRE, her stepmother _Mezzo-Soprano_ NOÉMIE, her stepsister _Soprano_ DOROTHÉE, her stepsister _Soprano_ PANDOLFE, her father _Baritone_ THE PRINCE CHARMING _Soprano_ THE FAIRY _Soprano_ THE KING _Baritone_ DEAN OF THE FACULTY _Baritone_ MASTER OF CEREMONIES _Tenor_ PRIME MINISTER _Bass_

_Time_--Period of Louis XIII.

_Place_--France.

The story follows almost entirely the familiar lines of the fairy tale. It may differ from some versions in including _Cinderella's_ father, _Pandolfe_, among the characters. In the third act, sympathizing with her in her unhappiness with her stepmother and stepsisters, he plans to take her back to the country. But she goes away alone, falls asleep under the fairy oak, and in a dream sees the _Prince_, with whom she has danced at the ball. The fairy reveals them to each other and they pledge their love. In the fourth act the dream turns into reality.

As for the music, it is bright, graceful, and pretty, especially in the dances, the fairy scenes, and the love scene between _Cinderella_ and _Prince Charming_.

LA NAVARRAISE

Opera in one act by Massenet; libretto by Jules Claretie and Henri Cain. It was performed for the first time at Covent Garden, June 20, 1894, by Mme. Calvé and Messrs. Alvarez, Plançon, Gilibert, Bonnard, and Dufriche.

The opera is one of other days. Now it is seldom given. There were two famous _Anitas_--Emma Calvé and Jeanne Gerville-Réache. The extraordinary success of "Cavalleria Rusticana" no doubt impelled Massenet to try his hand at a tragic one-act opera, just as "Hänsel and Gretel" was responsible for his "Cendrillon." It is among the best of his works. The music is intensely dramatic. It has colour, vitality. The action is swift and stirring, uninterrupted by sentimental romanzas. The libretto is based on a short story, "La Cigarette," written by Jules Claretie and published in the _Figaro Illustré_ about 1890. Later it gave the title to a collection of short stories.

The time is during the last days of the Carlist war. The place is Spain. _Araquil_, a Biscayan peasant, loves _Anita_ madly, but her parents frown upon his poverty. No crime seems too great to win his bride. _General Garrito_, the Spanish chief, has promised a reward to any man who will deliver up _Zucarraga_, the Carlist. When this dangerous foe is injured in battle, _Araquil_ poisons the wound and claims the promised reward. The general pays the sum, but, disgusted, orders _Araquil_ to be shot. _Anita's_ father consents to the wedding before the execution. But _Anita_ refuses disdainfully, and _Araquil_ is killed as he puffs a cigarette. This is Claretie's story. At his suggestion and for the purposes of opera the parts were changed. _Araquil_ became _Anita_ and the peasant with the cigarette became _La Navarraise_.

LE JONGLEUR DE NÔTRE DAME

Opera in three acts by Jules Massenet. Libretto by Maurice Léna.

[Illustration: Copyright photo by Dupont

Mary Garden in "Le Jongleur de Nôtre Dame"]

The opera was first sung at Monte Carlo, February 18, 1902, when the part of Jean was taken by Mr. Maréchal, for this miracle play with music was composed originally for male singers. The only two women in the cast were represented as angels. The part of _Boniface_ the cook was created by Mr. Renaud.

The story was first published by Gaston Paris as "Le Tombeor de Nostre Dame" in 1874-75 in the review, _Romania_, and later in his "Étude sur la Poésie Française au Moyen Âge." The story is better known, however, by Anatole France's version, included in his "Étui de Nacre" (1912).

A poor juggler after performing in the streets to earn his bread, begins to think of the future life and enters a monastery. There he sees the monks paying homage to the Virgin in eloquent prayers. Unable in his ignorance to imitate their pious learning, _Jean_ decides to offer homage through the only means in his power. He shuts himself in the chapel, turns somersaults, and performs his feats in Our Lady's honour. When the monks searching for _Jean_ rush in and cry "Sacrilege" at his singing, dancing, and tumbling, the statue of the Virgin comes to life, smiles, and blesses the poor juggler, who dies in ecstasy at her feet, while the monks chant the beatitude concerning the humble.

Massenet was later persuaded to turn the part of _Jean_ into a soprano. It is known to New York through Miss Mary Garden. It is said that the libretto of this opera was handed to Massenet by the postman, one day, as he was leaving for the country. In the railway carriage, seeking distraction, he opened the registered package. He was delighted with the libretto and wrote at once to the author, a teacher in the university.

WERTHER

Opera in four acts by Jules Massenet with a libretto by Édouard Blau, Paul Milliet, and G. Hartmann. First performance in New York, April 19, 1894, with Mme. Eames and Sigrid Arnoldson and Jean de Reszke.

In the first act the bailiff, _Charlotte's_ father, is seen teaching his youngest children to sing a Christmas carol, while _Charlotte_ dresses for a ball. Ready before the carriage arrives, she gives the children their bread and butter as she has done every day since their mother died. She greets _Werther_, her cousin, who is also invited to the ball, with a kiss. After they have gone, _Albert_ returns. He has been away six months. He wonders whether _Charlotte_, his betrothed, still cares for him and is reassured as to her fidelity by her younger sister _Sophie_. When _Charlotte_ and _Werther_ return from the ball _Werther_ declares his love. At that moment the bailiff announces _Albert's_ return. _Charlotte_ tells _Werther_ that she had promised to marry him only to please her mother. _Werther_ replies: "If you keep that promise I shall die."

## Act II takes place three months later. _Charlotte_ and _Albert_ are

man and wife. _Albert_ knows that _Werther_ loves his wife but trusts him. _Charlotte_ begs _Werther_ not to try to see her again until Christmas day.

In Act III _Charlotte_ is at home alone. Her thoughts are with _Werther_ and she wonders how she could have sent him away. Suddenly _Werther_ returns and there is a passionate love scene. When _Werther_ has gone _Albert_ enters, and notices his wife's agitation. A servant brings a note from _Werther_ saying that he is about to go on a long journey and asking _Albert_ to lend him his pistols. _Charlotte_ has a horrible presentiment and hastily follows the servant.

In Act IV _Charlotte_ finds _Werther_ dying in his apartments. He is made happy by her confession that she has loved him from the moment when she first saw him.

HÉRODIADE

Massenet's "Hérodiade," with a libretto by Paul Milliet, had its first performance in New York at the Manhattan Opera House, November, 1908, with Lina Cavalieri, Jeanne Gerville-Réache, Charles Dalmorès, and Maurice Renaud in the principal rôles. The scene is Jerusalem and the first act shows _Herod's_ palace. _Salome_ does not know that she is the daughter of _Herodias_, for she was mysteriously separated from her mother in childhood. With a caravan of Jewish merchants, who bring gifts to _Herod_, she comes to Jerusalem in search of her mother. She tells _Phanuel_, a young philosopher, that she wishes to return to the _Prophet_ who had been kind to her in the desert.

As she leaves _Herod_ enters, notices her, and is aroused by her beauty. He calls upon her to return. But instead _Herodias_ enters demanding _John's_ head for he has publicly called her Jezebel. _Herod_ refuses. _John_ appears and continues his denunciation. The royal couple flee. _Salome_ returns and falls at _John's_ feet confessing her love.

_Herod_ in vain seeks to put the thought of _Salome_ from him. _Herodias_, mad with jealousy, consults the astrologer _Phanuel_ who tells her that her daughter is her rival.

In the temple _Herod_ offers his love to _Salome_, who repulses him crying: "I love another who is mightier than Cæsar, stronger than any hero." In his fury _Herod_ orders both _Salome_ and _John_, who has been seized and put in chains, delivered into the hands of the executioner. _John_ in his dungeon clasps _Salome_ in his arms.

In the last scene _Salome_ implores _Herodias_ to save _John_, but the executioner's sword is already bloodstained. _Salome_ snatches a dagger and rushes upon _Herodias_ who cries in terror, "Have mercy. I am your mother." "Then take back your blood and my life," cries _Salome_, turning the weapon upon herself.

SAPHO

Massenet's "Sapho," with a libretto by Henri Cain and Arthur Bernède, based on Daudet's famous novel, was a complete failure in New York when it was sung for three performances in 1909. Its favourable reception in Paris, where it was produced at the Opéra Comique in 1897, was chiefly due to the vivid impersonation of Emma Calvé. The story concerns an artist's model who captivates an unsophisticated young man from the country and wrecks his life in attempting to rise above her past.

CLÉOPÂTRE

Opera by J. Massenet. Written for Lucy Arbell, the opera was produced by Raoul Gunsbourg, at Monte Carlo, in his season of 1914-15 with Marie Kousnezova in the title rôle. The first performance in America took place in Chicago, at the Auditorium, January 10, 1916, with the same singer. The first performance in New York was on January 23, 1919, with Miss Mary Garden as the Queen of Egypt and Alfred Maguénat, who created the rôle at Monte Carlo and in Chicago, as the _Marc Anthony_. The story is the traditional one.

LOUISE

A musical romance in four acts, libretto and music by Gustave Charpentier.

CHARACTERS

JULIEN _Tenor_ THE FATHER _Baritone_ LOUISE _Soprano_ THE MOTHER _Contralto_ IRMA _Soprano_

The opera was produced at the Opéra Comique, Paris, February 2, 1900. The part of _Louise_ was created by Miss Rioton, who then sang for the first time in an opera house; that of _Julien_ by Maréchal; that of the father by Fugère, and that of the mother by Mme. Deschamps-Jéhin.

[Illustration: Photo by Mishkin

Mary Garden as Louise]

The story is simple. _Louise_, a working girl, loves _Julien_, an artist. Her father puts no trust in an artist of irregular life, so _Louise_ leaves her family. The lovers are happy, but _Louise_ is remorseful. She grieves for her father and reproaches herself for ingratitude. Finally she returns home. But free forgiveness does not make up for the freedom she has lost. Paris the city of pleasure tempts her again, and again she succumbs. Her family realizes that she is for ever lost to the home.

Charpentier himself described his work to F. de Menil. When asked why he called his opera a musical romance, he replied: "Because in a romance there are two entirely distinct sides, the drama and the description, and in my 'Louise' I wish to treat these different sides. I have a descriptive part, composed of decoration, scenic surroundings, and a musical atmosphere in which my characters move; then I have the purely dramatic part, devoted wholly to the action. This is, therefore, a truly musical romance." When asked whether the work were naturalistic, realistic, or idealistic, he answered: "I have a horror of words that end in 'istic.' I am not a man of theories. 'Louise,' as everything that I do, was made by me instinctively. I leave to others, the dear critics, the care of disengaging the formulas and the tendencies of the work. I have wished simply to give on the stage that which I have given in concert; the lyric impression of the sensations that I reap in our beautiful, fairy-like modern life. Perhaps I see this as in a fever, but that is my right for the street intoxicates me. The essential point of the drama is the coming together, the clashing of two sentiments in the heart of _Louise_--love, which binds her to her family, to her father, the fear of leaving suffering behind her, and, on the other hand, the irresistible longing for liberty, pleasure, happiness, love, the cry of her being, which demands to live as she wishes. Passion will conquer because it is served by a prodigious and mysterious auxiliary, which has little by little breathed its dream into her young soul--Paris, the voluptuous city, the great city of light, pleasure, and joy, which calls her irresistibly towards an undaunted future."

SALAMMBÔ

Reyer's "Salammbô" received a gorgeous production at the Metropolitan Opera House on March 20, 1901, with the following cast: _Salammbô_, Lucienne Bréval; _Taanach_, Miss Carrie Bridewell; _Mathô_, Albert Saléza; _Shahabarim_, Mr. Salignac; _Narr'Havas_, Mr. Journet; _Spendius_, Mr. Sizes; _Giscon_, Mr. Gilibert; _Autharite_, Mr. Dufriche; _Hamilcar_, Mr. Scotti. Mr. Mancinelli conducted. The exquisitely painted scenes were copies of the Paris models, and the costumes were gorgeous. Miss Bréval's radiant Semitic beauty shone in the title rôle. Flaubert's novel was made into a libretto by Camille du Locle. History supplied the background for romance in the shape of the suppression of a mutiny among the mercenaries of the Carthaginians in the first Punic war. Against this is outlined in bold relief the story of the rape of the sacred veil of Tanit by the leader of the revolting mercenaries, his love for _Salammbô_, daughter of the Carthaginian general; her recovery of the veil, bringing in its train disaster to her lover and death to both.

[Illustration: Photo by Histed

Lucienne Bréval as Salammbô]

PELLÉAS ET MÉLISANDE

Opera in five acts (12 scenes). Music by Debussy; text by Maurice Maeterlinck. Produced: Paris, April 30, 1902. New York, February 19, 1908.

CHARACTERS

ARKEL, King of Allemonde _Bass_ GENOVEVA, mother of Pelléas and Golo _Alto_ PELLÉAS } King Arkel's { _Tenor_ GOLO } grandsons { _Baritone_ MÉLISANDE _Soprano_ LITTLE YNIOLD, Golo's son by first marriage _A child's voice_ A PHYSICIAN _Bass_

## Act I. Scene I. In a forest. _Golo_ while hunting has lost his way

following a wild boar and come to a place unknown to him. There he sees a woman sitting by a spring. She acts like a figure in a fairy tale and behaves like a person stranger to and isolated from the world. Finally _Golo_ succeeds in inducing _Mélisande_--she at last tells him her name after being urged--to follow him out of the dark woods.

## Scene II. A room in the castle. _Genoveva_ is reading to the aged,

almost blind _King Arkel_ a letter which _Golo_ has written to his half-brother _Pelléas_. From this letter we learn that _Golo_ has already been married six months to the mysterious _Mélisande_. He has great love for his wife, about whom, however, he knows no more today than he did at first in the woods. So he fears that his grandfather, the _King_, may not forgive him for this union and asks _Pelléas_ to give him a sign in case the _King_ is ready "to honour the stranger as his daughter." Otherwise he will steer the keel of his ship to the most remote land. _King Arkel_ has arrived at that time of life when the wisdom of experience tends to make one forgiving toward everything that happens. So he pardons _Golo_ and commissions his grandson _Pelléas_ to give his brother the sign agreed upon.

## Scene III. Before the castle. The old queen _Genoveva_ seeks to calm

_Mélisande's_ distress at the gloominess of the world into which she has wandered. _Pelléas_ too is there. He would like to go to see a distant friend who is ill but fate holds him here. Or rather have not chains been wound about the twain of which they yet have no anticipation?

## Act II. Scene IV. A fountain in the park. _Pelléas_ and _Mélisande_

have arrived at this thickly shaded spot. Is _Mélisande_ a Melusine-like creature? Water attracts her wonderfully. She bends over her reflection. Because she cannot reach it, she is tempted to play with the ring that _Golo_ sent her. It slips from her hand and sinks.

## Scene V. There must have been some peculiar condition attached to the

ring. At the same hour that it fell in the fountain _Golo's_ horse shied while hunting so that he was hurt and now lies wounded in bed. _Mélisande_ is taking care of him. She tells _Golo_ that she did not feel well the day before. She is oppressed by a certain foreboding, she does not know what it is. _Golo_ seizes her hands to console her and sees that the ring is missing. Then he drives her out into the night to look for it. "Sooner would I give away everything I have, my fortune and goods, rather than have lost the precious ring." _Pelléas_ will help her.

## Scene VI. Before a grotto in the rocks. _Mélisande_ has deceived

_Golo_ by telling him that the ring has slipped from her hand into the sea. So _Pelléas_ must now lead her to this grotto in order that she may know at least the place in which she can claim that she lost the ring. A dreadful place in which the shudder of death stalks.

## Act III. Scene VII. A tower in the castle. At the window of the tower

_Mélisande_ is standing combing her hair that she has let down. Then _Pelléas_ comes along the road that winds around under her window. _Pelléas_ is coming to say farewell. Early the next morning he is going away. So _Mélisande_ will at least once more reach out her hand to him that he may press it to his lips. Love weaves a web about the twain with an ever thicker netting without their noticing it. Their hands do not touch but as _Mélisande_ leans forward so far her long hair falls over _Pelléas's_ head and fills the youth with passionate feelings. Their words become warmer--then _Golo_ comes near and reproves their "childishness."

[Illustration: Copyright photo by Davis & Sanford Co.

Mary Garden as Mélisande in "Pelléas and Mélisande"]

## Scene VIII. In the vault under the castle. Like a gloomy menace _Golo_

leads _Pelléas_ into these underground rooms where the breeze of death blows. Seized with shuddering they go out. On the terrace at the entrance to the vault _Golo_ in earnest words warns _Pelléas_ to keep away from _Mélisande_ and to refrain from confidential conversations with her.

## Scene IX. Before the castle. In vain _Golo_ has sought to quiet

himself by saying that it was all only childishness. Jealousy devours his heart. So now he seeks with hypocritical calm his little son _Yniold_, offspring of his first marriage, to inquire about the intimacy of _Pelléas_ and _Mélisande_. The child cannot tell him of anything improper yet _Golo_ feels how it is with the couple. And he feels that he himself is old, much older than _Pelléas_ and _Mélisande_.

## Act IV. Scene X. In a room in the castle _Pelléas_ and _Mélisande_

meet. This evening he must see her. She promises to go in the park to the old fountain where she formerly lost the ring. It will be their last meeting. Yet _Mélisande_ does not understand what is driving the youth away. The old _King Arkel_ enters the room. The aged man has taken _Mélisande_ to his heart. He feels that the young wife is unhappy. Now _Golo_ also enters. He can scarcely remain master of his inner commotion. The sight of his wife, who appears the picture of innocence, irritates him so much that he finally in a mad rage throws her on her knees and drags her across the room by her hair.

## Scene XI. By the old spring in the park. There is an oppressive

feeling of disaster in the air. Only little _Yniold_ does not suffer this gripping burden. It is already growing dark when _Mélisande_ goes to _Pelléas_. And yet in their farewell, perhaps also on account of _Golo's_ outburst of anger, the couple clearly see what has caused their condition. And there comes over them something like the affirmation of death and the joy of dying. How fate shuts the gates upon them; like a fate they see _Golo_ coming. They rejoice in the idea of death. _Pelléas_ falls by _Golo's_ sword, _Mélisande_ flees from her husband's pursuit into the night.

## Act V. Scene XII. A room in the castle. _Mélisande_ lies stretched out

in bed. _Arkel_, _Golo_, and the physician are conversing softly in the room. No; _Mélisande_ is not dying from the insignificant wound _Golo_ has given her. Perhaps her life will be saved. She awakes as if from dreaming. Everything that has happened is like a dream to her. Desperately _Golo_ rushes to her couch, begs her pardon, and asks her for the truth. He is willing to die too but before his death he wants to know whether she had betrayed him with _Pelléas_. She denies it. _Golo_ presses her so forcibly and makes her suffer so that she is near death. Then earthly things fall away from her as if her soul were already free. It is not possible to bring her back now. The aged _Arkel_ offers the last services for the dying woman, to make the way free for her soul escaping from earthly pain and the burden of the tears of persons left behind.

APHRODITE

A lyric drama in five acts and seven scenes after the story by Pierre Louÿs. Adapted by Louis de Gramont. Music by Camille Erlanger. First given at the Opéra Comique, Paris, March 23, 1906, with Mary Garden as _Chrysis_, Leon Beyle as _Démétrios_, Gustave Huberdeau as the _Jailor_, Mmes. Mathieu-Lutz and Demellin as _Myrto_ and _Rhodis_, and Claire Friche as _Bacchis_.

CHARACTERS

DÉMÉTRIOS _Tenor_ TIMON _Baritone_ PHILODÈME _Tenor_ LE GRAND PRÊTRE _Bass_ CALLIDÈS _Bass_ LE GEÔLIER _Bass_ CHRYSIS _Soprano_ BACCHIS _Mezzo-Soprano_ MYRTO _Soprano_ RHODIS _Mezzo-Soprano_ CHIMARIS _Mezzo-Soprano_ SÉSO _Soprano_

## Act I. The wharf at Alexandria. Act II. The temple of Aphrodite. Act

III. At the house of _Bacchis_. Act IV. The studio of _Démétrios_. Act V. Scene I. The lighthouse; Scene II. The prison; Scene III. The garden of Hermanubis.

## Act I. The throng moves back and forth on the crowded wharf. There are

young people, courtesans, philosophers, sailors, beggars, fruit-sellers. _Rhodis_ and _Myrto_ play on their flutes while _Théano_ dances. _Démétrios_ the sculptor approaches and leans on the parapet overlooking the sea. The Jewess _Chimaris_, a fortune-teller, reads his hand. She tells him that she sees past happiness and love in the future, but that this love will be drowned first in the blood of one woman, then in that of a second, and finally in his own. _Chrysis_, a beautiful courtesan, appears on the wharf. _Démétrios_ wishes to follow her, but she declines his advances. To possess her he must bring her three gifts, the silver mirror of _Bacchis_, the courtesan, the ivory comb of _Touni_, wife of the High Priest, and the pearl necklace clasped around the neck of the statue of the goddess Aphrodite in the temple. _Démétrios_ is appalled but swears to fulfil her wishes. She embraces him and disappears.

In Act II the temple guards and eunuchs perform their sacred offices. _Démétrios_ enters the temple. He has committed two of the three crimes. He has stolen the mirror from _Bacchis_ and stabbed Touni to take her comb. The celebration of the first day of the Aphrodisiacs begins. Courtesans bring offerings to the goddess. _Rhodis_ and _Myrto_ bring a caged dove. _Chrysis_ hands the High Priest her bronze mirror, her copper comb, and her emerald necklace, as offerings. When the crowd leaves the temple, _Démétrios_ snatches the necklace from the statue and disappears.

## Act III shows the feast and the bacchanale at the house of _Bacchis_.

The theft of the mirror is discovered. _Corinna_, a slave, is accused and crucified. _Chrysis_ is inwardly exultant that her wish has been obeyed.

In Act IV _Chrysis_ goes to _Démétrios_ to receive the gifts and to bestow the reward. _Démétrios_, mad with passion, clasps her in his embrace. The clamour without reminds him of his misdeed. In a fit of disgust he demands that the beautiful woman shall not hoard her treasures in secret, but appear in public decked with them, as an atonement. He sends her away.

On the island of the lighthouse of Alexandria the crowds discuss the theft of the mirror and the crucifixion of _Corinna_. _Timon_ announces the slaying of Touni and the stealing of her comb. _Chrysis_ appears wrapped in a long mantle. The sacred courtesans and the temple guards announce the theft of the jewels from the temple. Suddenly _Chrysis_ appears on the highest balcony of the lighthouse, the stolen comb in her hair, the mirror in her hand, and the necklace about her throat. Disclosed in a flash of lightning the crowds think it is the goddess in person. Soon they realize the truth and _Chrysis_ is seized and taken to prison.

The _Jailor_ brings a poisoned goblet to her cell. She drinks--_Démétrios_ arrives too late, to find her dead.

Her friends, _Myrto_ and _Rhodis_, bury her body in the Garden of Hermanubis.

L'ATTAQUE DU MOULIN

THE ATTACK ON THE MILL

This is a four-act music-drama by Alfred Bruneau, the libretto by Louis Gallet, based on a story from Zola's "Soirées de Medan." It was produced at the Opéra Comique, Paris, November 23, 1893, and in this country in 1908.

The tale is an episode of the Franco-Prussian War. In the first act we see the betrothal of _Françoise_, daughter of the miller, _Merlier_, to _Dominique_. The _Town Crier_ announces the declaration of war.

In the second act the mill is attacked and captured by the Germans. _Dominique_ is made a prisoner and locked in the mill. _Françoise_ gets a knife to him. While (in the third act) the girl engages the attention of the sentinel, _Dominique_ makes his way out of the mill, kills the sentinel, and escapes. In the fourth act the French, guided by _Dominique_, return. But just as they enter, with _Dominique_ at their head, the Germans shoot _Merlier_ before his daughter's eyes.

* * * * *

In writing about his theories of the lyric drama, Bruneau, who was regarded as a promising follower of Wagner, used these words: "It is music uniting itself intimately to the poetry ... the orchestra comments upon the inward thoughts of the different characters." Wagnerian--but also requiring the genius of a Wagner.

ARIANE ET BARBE-BLEUE

ARIADNE AND BLUE-BEARD

Opera in three acts, by Paul Dukas; text by Maurice Maeterlinck. Produced in New York, March 3, 1911.

CHARACTERS

BLUE-BEARD _Bass_ ARIANE, wife of _Blue-Beard_ _Soprano_ THE NURSE _Contralto_ SÉLYSETTE, wife of _Blue-Beard_ _Mezzo-Soprano_ YGRAINE, wife of _Blue-Beard_ _Soprano_ MÉLISANDE, wife of _Blue-Beard_ _Soprano_ BELLANGÈRE, wife of _Blue-Beard_ _Soprano_ ALLAINE, wife of _Blue-Beard_ _Acting Rôle_ AN OLD PEASANT _Bass_

Peasants and Mob.

_Time_--Middle Ages.

_Place_--_Blue-Beard's_ Castle.

## Act I. Hall in _Blue-Beard's_ castle. _Ariane_, sixth wife of

_Blue-Beard_, is warned by voices of the crowd outside that _Blue-Beard_ has already murdered five wives. _Ariane_ has seven keys--six of silver and one of gold. When _Ariane_, intent only on opening the forbidden chamber, throws down the six silver keys, her _Nurse_ picks them up. With one she unlocks the first door. Instantly amethysts set in diadems, bracelets, rings, girdles, fall down in a shower on _Ariane_. And so, to her joy, as door after door swings open, she is showered with sapphires, pearls, emeralds, rubies, and diamonds. Now _Ariane_ opens, with the golden key, the seventh door. Darkness, out of which come the voices of the five lost wives. Here _Ariane_ is surprised by _Blue-Beard_, who lays hold of her. The crowd, admitted by the _Nurse_, rush in to kill _Blue-Beard_, but are told by _Ariane_ that he has not harmed her.

## Act II. A subterranean hall. _Ariane_ descends with the _Nurse_ into

the depths of the blackness on which the seventh door opened. There she finds the five wives still alive but emaciated and in rags. She tells them that she has obeyed a higher law than _Blue-Beard's_, and that outside birds are singing and the sun is shining. A jet of water extinguishes _Ariane's_ light, but she is not fearful. She leads the five toward a radiant spot at the end of the vault. She throws herself against the barred wall. It gives away. The sunlight streams in. Blinded at first by its brilliance, the five wives finally come out of the vault and go off singing joyously.

## Act III. Same as Act I. The wives are adorning themselves with the

help of _Ariane_. She urges them to make the best use of their gifts. _Blue-Beard_ is approaching. The people are lying in wait for him. The wives watch his capture. Bound and wounded, he is brought in. But to the astonishment of all _Ariane_ bandages his wounds and the others help her. Then she cuts the cords and frees him, but herself departs, although _Blue-Beard_ pleads with her to remain. But when she in turn implores the five wives to go with her, they decline, and she leaves them in the castle.

The allegory in this tale is that five out of six women prefer captivity (with a man) to freedom without him. The opera has not been popular in this country.

MONNA VANNA

Henry Février's "Monna Vanna" was first sung in New York in 1914 by Mary Garden and Lucien Muratore. The opera is based upon Maeterlinck's play in which _Monna Vanna_ to save the starving Pisans goes to _Prinzivalle's_ tent clad only in a cloak and her long hair. The commander of the besieging army does not profit by the bargain, but treats her with the utmost respect while he discourses eloquently of his youthful love. The music is as commonplace as that of this composer's other opera, "Gismonda."

GISMONDA

Opera in four acts by Henri Février with a libretto based on Sardou's famous play had its first performance in America in Chicago, January 14, 1919, with Miss Mary Garden, Charles Fontaine, Gustave Huberdeau, Marcel Journet, and other members of the Chicago Opera Company in the leading rôles. The opera was given on the opening night of the same organization's season in New York, January 27, 1919, at the Lexington Theatre with the same cast.

The story follows that of the play. _Gismonda_, Duchess of Athens, promises to wed the man who succeeds in rescuing her little son from a tiger's pit, into which he has been pushed by a conspirator who wishes to help _Zaccaria Franco_ to seize the Duchy. _Almério_, a young falconer, kills the beast and saves the child. But the proud though grateful _Duchess_ will not consider a peasant for her husband.

If _Almério_ will renounce his claim _Gismonda_ promises to spend a night at his hut. When she discovers that _Zaccaria_ has followed her she slays him. _Almério_ takes the guilt for the murder upon himself but _Gismonda_ makes public confession of her visit to his hut, hands over the wicked _Grégoras_, who had attempted to murder her little son, to justice, and proclaims the falconer her lord and husband.

MAROUF, THE COBBLER OF CAIRO

"Marouf" was sung for the first time in America at the Metropolitan Opera House, December 19, 1917, with Frances Alda, Kathleen Howard, Léon Rothier, Andrés de Segurola, Thomas Chalmers, and Giuseppe de Luca as the Cobbler, in the cast. Pierre Monteux conducted.

_Marouf_ is unhappy at home. His wife, _Fatimah_, is ugly and has a bad disposition. When she asked for rice cake, sweetened with honey, and thanks to his friend the pastry cook, _Marouf_ brought her cake sweetened with cane sugar instead, she flew into a rage and ran to tell the _Cadi_ that her husband beat her. The credulous _Cadi_ orders the _Cobbler_ thrashed by the police, in spite of protesting neighbours. _Marouf_, disgusted, decides to disappear. He joins a party of passing sailors. A tempest wrecks the ship. He alone is saved. _Ali_, his friend, whom he has not seen for twenty years and who has become rich in the meantime, picks him up on the shore and takes him to the great city of Khaltan, "somewhere between China and Morocco." _Marouf_ is presented to the townspeople as the richest merchant in the world who has a wonderful caravan on the way. He is accepted everywhere and in spite of the doubting _Vizier_ the Sultan invites him to his palace. Furthermore, he offers him his beautiful daughter as a bride. For forty days _Marouf_ lives in luxury with the princess. He empties the treasury of the _Sultan_ who consoles himself with thoughts of the promised caravan which must soon arrive. At last the _Princess_ questions _Marouf_ who tells the truth. They decide upon flight, and the _Princess_ disguises herself as a boy.

At an oasis in the desert they are sheltered by a poor peasant. _Marouf_ seeks to repay his hospitality by a turn at his plow. The implement strikes an iron ring attached to the covering of a subterranean chamber. The ring also has magic power. When the _Princess_ rubs it the poor peasant is transformed into a genii, who offers his services, and discloses a hidden treasure. When the _Sultan_ and his guards, in pursuit of the fugitives, appear upon the scene, the sounds of an approaching caravan are also heard in the distance. The ruler apologizes. _Marouf_ and the _Princess_ triumph. The doubting _Vizier_ is punished with a hundred lashes.

* * * * *

Henri Rabaud, composer of "Marouf," is a Parisian, the son of a professor of the Conservatoire of which he is also a graduate.

His second symphony has been played in New York. He has to his credit a string quartet, other smaller works, and an opera, "La Fille de Roland," which was given some years ago at the Opéra Comique. "Marouf" was produced at that theatre in the spring of 1914. M. Rabaud, for several years conductor at the Grand Opéra and the Opéra Comique, was called to America in 1918 to be the conductor of the Boston Symphony Orchestra, succeeding Karl Muck, and Pierre Monteux who filled the vacancy for a few weeks before M. Rabaud's arrival from France.

LE SAUTERIOT

THE GRASSHOPPER

"Le Sauteriot" (Grasshopper) by Sylvio Lazzari, with a libretto by Henri Pierre Roche and Martial Perrier, based on E. de Keyserling's drama "Sacre de Printemps," is the story of a modern Cinderella, _Orti_, who lives in Lithuania. She is the natural daughter of _Mikkel_, whose wife _Anna_, lies dying as the curtain rises. The doctor gives _Orti_, or _Grasshopper_ as she is known, some medicine to give the patient if she grows worse. Only ten drops though, because the remedy is a powerful poison. _Anna's_ old mother, _Trine_, tells _Orti_ the legend of the mother who prayed that she might die in place of her baby, and whose prayer was granted. Realizing herself despised and a drudge, _Orti_ prays to die instead of _Anna_.

_Grasshopper_ is secretly in love with _Indrik_. But he has no eyes for her. All his attention is fixed upon _Madda_, _Mikkel's_ youngest sister. In the second act at a village festival, _Indrik_, who has quarrelled with _Madda_, fights with his successor in her affections, _Josef_. _Orti_ rushes in and seizes _Josef's_ hand as he is about to slay _Hendrik_. She is the heroine of the festival. _Hendrik_ pays court to her and leads her to believe that he will marry her. When a few days later she discovers that he has gone back to _Madda_, _Grasshopper_ commits suicide.

* * * * *

M. Lazzari of Paris is by birth a Tyrolean, whose father was an Italian. But the composer has spent most of his life in Paris. He entered the Conservatoire at twenty-four, where his teachers were Guiraud and César Franck. His operas "L'Ensorcelée" and "La Lépreuse" were first sung in Paris. "Le Sauteriot" would also have had its first performance there. But the war made it possible for Mr. Campanini to acquire it for Chicago. It was presented there on the closing day of the season, January 19, 1918. The Chicago Opera Company gave New York its first opportunity to hear the work on February 11, 1918, when it was conducted by the composer.

LA REINE FIAMMETTE

QUEEN FIAMMETTE

"La Reine Fiammette," by Xavier Leroux, with a libretto adapted from his play by Catulle Mendès, had its first performance in America at the Metropolitan Opera House, January 24, 1919. The cast was as follows:

CHARACTERS

ORLANDA _Geraldine Farrar_ DANIELO _Hipolito Lazaro_ GIORGIO D'AST _Adamo Didur_ CARDINAL SFORZA _Léon Rothier_ PANTASILLE _Flora Perini_ MOTHER AGRAMENTE _Kathleen Howard_ VIOLINE _Kittie Beale_ VIOLETTE _Lenore Sparkes_ VIOLA _Mary Ellis_ POMONE _Marie Tiffany_ MICHELA _Lenore Sparkes_ ANGIOLETTA _Mary Ellis_ CHIARINA _Marie Mattfeld_ TWO BOYS { _Mary Mellish_ { _Cecil Arden_ LUC AGNOLO _Mario Laurenti_ CASTIGLIONE _Angelo Bada_ CORTEZ _Albert Reiss_ CESANO _Giordano Paltrinieri_ VASARI _Pietro Audisio_ PROSECUTOR _Paolo Ananian_ TWO NOVICES { _Phillis White_ { _Veni Warwick_

While this was the first operatic performance of Catulle Mendès's famous work, Charles Dillingham produced the play for the first time in America at the Hollis Street Theatre, Boston, October 6, 1902, with Julia Marlowe. Paul Kester made the English adaptation. The late Frank Worthing appeared as _Danielo_. Others in the cast were Frank Reicher, Albert Bruning, and Arthur Lawrence.

The story takes place in Italy of the sixteenth century, in an imaginary Kingdom of Bologna, whose ruler _Queen Fiammette_, young and capricious, has chosen as her consort _Giorgio d'Ast_, an adventurer. It is this very man whom the Papal See has determined to elevate to the throne in place of the madcap _Orlanda_. But _Cardinal Sforza_ is not satisfied with the mere dethroning of _Orlanda_. He wishes her to be assassinated, and goes to Bologna to hatch the plot for her doom. The _Prince Consort_ agrees to play his part and to involve several young courtiers in the scheme. It is decided to slay the _Queen_ during a fête at her palace.

_Danielo_, a young monk, is chosen to strike the blow. The _Cardinal_ tells him that after indulging in a passing fancy for his brother, the _Queen_ has had the youth killed. The monk is only too eager for revenge. He has been in the habit of meeting a beautiful woman, whose identity is unknown, at a convent. This is none other than _Fiammette_ herself who uses the convent for her gallantries. _Danielo_ confides his mission of vengeance to the fair unknown. But when he recognizes in the queen the woman he adores he is powerless to carry out his intention of slaying her. He is arrested by order of the _Cardinal_ for failing to keep his pact. The _Queen_ signs her abdication and hopes to fly with her lover, but the _Cardinal_ condemns both to the headsman's block.

LE CHEMINEAU

THE WAYFARER

Opera by Xavier Leroux with a libretto by Jean Richepin, performed for the first time in America at New Orleans in 1911.

A jovial wayfarer dallies with _Toinette_, one of the pretty girls working on a farm in Normandy. He loves her and goes his way. In despair _Toinette_ marries _François_. The wayfarer's child, _Toinet_, is born. Years later when _François_ has become a hopeless invalid, _Toinet_ woos _Aline_, the daughter of _Pierre_, a surly neighbour, who doubting the youth's origin refuses his consent to the match. Suddenly the wayfarer reappears. _François_ expires, after commending _Toinette_ to the care of her former lover. But the call of the open road is too strong. The wayfarer refuses to contemplate domesticity. Once more he takes his well-worn hat and goes out into the storm.

LE VIEIL AIGLE

THE OLD EAGLE

Raoul Gunsbourg wrote both the words and the music for his one act lyric drama, "Le Vieil Aigle" (The Old Eagle), which was first produced at the Opera House in Monte Carlo, February 13, 1909. The first performance of the opera in New York was given by the Chicago Opera Company at the Lexington Theatre with Georges Baklanoff in the title rôle, supported by Yvonne Gall, Charles Fontaine, and Désiré Defrère, February 28, 1919.

The scene of the story is a rocky coast in the Crimea. The time, the fourteenth century. The _Khan Asvezel Moslain_ informs his son _Tolak_, who has just returned from a successful campaign against the Russians, that great preparations have been made to celebrate his return. But the young man is sad and replies that he only seeks forgetfulness in death. He asks his father to grant him the dearest wish of his heart and confesses his love for the _Khan's_ favourite slave _Zina_. The old man consents to give her to his son, but when he orders the girl to follow _Tolak_ she refuses to do so. The _Khan_, wishing to retain his son's love, throws the disobedient slave into the sea, but as this far from restores harmony between the generations the old man follows her to her watery grave.

Modern German and Bohemian Opera

Wagner's powerful influence upon German opera produced countless imitators. For some reason or other it appeared to be almost impossible for other German composers to assimilate his ideas and yet impart originality to their scores. Among those who took his works for a model were Peter Cornelius, Hermann Goetz, and Carl Goldmark.

Perhaps the most important contribution to German opera during the decade that followed Wagner's death was Humperdinck's "Hänsel und Gretel." Then came Richard Strauss with his "Feuersnot," "Salome," "Elektra," and "Der Rosenkavalier."

The most famous representative of the Bohemian school of opera, which is closely allied to the German, is Smetana.

ST. ELIZABETH

Operatic version of Liszt's "Legend," made by Artur Bodanzky, from the book of the oratorio by Otto Roquette. Sung in English at the Metropolitan Opera House, January 3, 1918, with the following cast:

CHARACTERS

ELIZABETH _Florence Easton_ LANDGRAVINE SOPHIE _Margarete Matzenauer_ LANDGRAVE LUDWIG _Clarence Whitehill_ LANDGRAVE HERMANN _Carl Schlegel_ A HUNGARIAN MAGNATE _Basil Ruysdael_ SENESCHAL _Robert Leonhardt_

Conductor, _Artur Bodanzky_

The dramatic version of Liszt's sacred work once had sixty performances at Prague.

Although the score of "Saint Elizabeth" is dedicated to Wagner's benefactor, Ludwig II. of Bavaria, the Grand Duke Alexander of Weimar was responsible for the fact that Liszt undertook a setting of a poem on this subject by Otto Roquette. This poem was inspired by a series of frescoes by Moritz Schwind at the Wartburg, which tells the story of _Elizabeth's_ sad life. The daughter of a Hungarian king of the thirteenth century, she was brought to the Wartburg at the age of four and betrothed to the boy, _Ludwig_, son of the Landgrave of Thuringia. The children were reared as brother and sister, and at seventeen _Elizabeth_ was married to _Ludwig_ who succeeded to the throne.

A famine came upon the land. _Elizabeth_ impoverished herself by helping the poor, and incurred the displeasure of her mother-in-law. Forbidden to give any further aid to the victims of the famine, she was one day found by her husband carrying a basket. She declared that it was filled with flowers. When he tore it from her hands a miracle had happened, and the bread and wine had changed into roses. Then she confessed her deception which was atoned for by the miracle. The two after offering a prayer of thanksgiving renew their vows.

Soon afterwards _Ludwig_ joins a passing procession of crusaders. He is killed in battle with the Saracens and his wife becomes ruler of the Wartburg. _Sophie_, her mother-in-law, plots with the _Seneschal_ and drives _Elizabeth_ out with her children into a storm. She finds refuge in a hospital she once founded. The remainder of her life is devoted to assisting the helpless and the poor. The closing scene of the opera shows her apotheosis.

THE BARBER OF BAGDAD

Opera in two acts. Words and music by Peter Cornelius. Produced: Weimar, December 15, 1858.

CHARACTERS

THE CALIPH _Baritone_ BABA MUSTAPHA, a cadi _Tenor_ MARGIANA, his daughter _Soprano_ BOSTANA, a relative of the cadi _Mezzo-Soprano_ NUREDDIN _Tenor_ THE BARBER _Bass_

## Act I. _Nureddin_ is ill, very ill his servants say. They must know

very little of such youthful illnesses. _Margiana_ calls the invalid in a dream. _Margiana_ is the medicine that can cure him, _Margiana_, the marvellously glorious daughter of the mighty cadi, _Baba Mustapha_. And see how health reanimates _Nureddin's_ limbs, when _Bostana_, a relative of the cadi, approaches and brings the sweet news that _Margiana_ will wait for her lover about noon when her father has gone to prayers in the mosque. But the latter, in order to appear properly, needs above everything else a barber. And _Bostana_ appoints--"O knowest thou, revered one, I find for you a learned one--the greatest of all barbers, _Abdul Hassan Ali Ebn Bekar_. He is great as a barber, a giant as a talker, swift his razor, a thousand times quicker his tongue."

## Act II. A magnificent room in the cadi's house. What a stirring,

harmonious picture. _Margiana_, _Bostana_, and the cadi rejoice: "He comes! he comes! oh, delightful pleasure." Of course the covetous old cadi is not thinking of young _Nureddin_ but of the rich old _Selim_ who wants to have _Margiana_ for his wife. A mighty chest full of rich gifts, so he announces. But the cadi goes off full of dignity to prayers in the mosque. And now _Nureddin_ comes. How happy the couple are. But is not that the barber approaching with his love-song? "O Allah, save us from the flood of his talk"--no, rather save us from the cadi who suddenly comes back. The screams of a servant, whom he is punishing with a bastonade by his own hand, announce his arrival. There is only one escape. Quickly the chest is emptied and _Nureddin_ gets in. Then the barber with _Nureddin's_ servant. _Abdul Hassan Ali Ebn Bekar_ leaves no customers in the lurch. He who screamed can only be _Nureddin_ whom the furious cadi has murdered. _Bostana_ advises him to drag forth the chest; the cadi opposes. The wild clamour brings, in crowds, the people of Bagdad who hear rumours of a murder. Finally the caliph comes too. What is in the chest? _Nureddin's_ corpse, says the barber; _Margiana's_ dowry, answers the cadi. The chest is opened. The cadi is right, for _Nureddin_ is not a corpse but only in a swoon because he was nearly smothered, but he is without doubt _Margiana's_ dowry and he will become so publicly. A cadi cannot lightly oppose the wish of a caliph. The barber is seized but is ordered by the caliph to be taken to his palace to entertain him with stories.

THE TAMING OF THE SHREW

Opera in four acts; libretto adapted by Victor Widmann from Shakespeare's comedy. Music by Herman Goetz.

CHARACTERS

BAPTISTA _Otto Goritz_ KATHARINA _Margarete Ober_ BIANCA _Marie Rappold_ HORTENSIO _Robert Leonhardt_ LUCENTIO _Johannes Sembach_ PETRUCHIO _Clarence Whitehill_ GRUMIO _Basil Ruysdael_ A TAILOR _Albert Reiss_ MAJOR DOMO _Max Bloch_ HOUSEKEEPER _Marie Mattfeld_

This opera was produced at the Metropolitan Opera House in commemoration of Shakespeare in 1916. It was first sung in Mannheim in 1874, when it was known as "Die Widerspenstigen Zachmung." Mr. Bodanzky came to conduct at the Metropolitan Opera House, from that city, and the New York performance was perhaps the result of a suggestion made by him. Widmann in his libretto brings into prominence the wooing of _Bianca_ by rival suitors. This is done to give relief to _Petruchio's_ blustering and to the exhibitions of temper by the _Shrew_. The librettist also provides his own introduction which includes the rival suitors, a chorus of angry servants, interested women on the balcony, and _Petruchio's_ entrance. The second act represents _Petruchio's_ tempestuous wooing. In the third _Bianca_ is courted by _Lucentio_ as a tutor and _Hortensio_ as a musician. The wedding party returns and _Petruchio_ makes his hasty exit bearing his sulky bride. Servants and wedding guests provide an opportunity for chorus music. The tailor is introduced and _Katharina_ is finally tamed.

THE QUEEN OF SHEBA

Opera in four acts: music by Karl Goldmark; text by G.H. Mosenthal. Produced: Vienna, March 10, 1875.

CHARACTERS

KING SOLOMON _Baritone_ BAAL HANAU, the palace overseer _Baritone_ ASSAD _Tenor_ THE HIGH PRIEST _Bass_ SULAMITH, his daughter _Tenor_ THE QUEEN OF SHEBA _Mezzo-Soprano_ ASTAROTH, her slave _Soprano_

_Time_--Tenth Century B.C.

_Place_--Jerusalem.

## Act I. In _Solomon's_ magnificent palace everybody is preparing for

the reception of the _Queen of Sheba_. But nobody is more delighted than _Sulamith_, the daughter of the High Priest. _Assad_, who had gone to meet the foreign queen, returns. Here he comes already into the hall. But _Assad_, growing pale, draws back before his betrothed. He confesses to _King Solomon_ that he has not yet seen the _Queen of Sheba_ but at a certain well a wonderful woman favoured him with her love and since then his mind has been confused. The King consoles the young man by telling him that God will permit him to find her again. Now the queen's train approaches; she greets _Solomon_ and unveils herself. _Assad_ rushes toward her. What does the young man want of her? She does not know him.

## Act II. The queen did not want to recognize _Assad_ but the woman in

her is consumed with longing for him. He comes and happy love unites them. Then the scene changes and shows the interior of the Temple. The wedding of _Assad_ and _Sulamith_ is about to be solemnized. Then, at a decisive moment the queen appears, and _Assad_ throws the ring on the floor and hurries to the queen as if the deceit were making a fool of him. She has never seen him, she declares a second time. _Assad_, however, who has offended the Almighty, has incurred the penalty of death. In the meantime _Solomon_, who is examining the affair, defers sentence.

## Act III. _Solomon_ is alone with the queen. She has one request to

make of him, that he shall release _Assad_. Why? He is nothing to her but she wants to see whether the king has regard for his guest. And _Solomon_ refuses the request of the deceitful woman who, breathing vengeance, strides out of the palace. But when _Sulamith_ complains, _Solomon_ consoles her. _Assad_ will shake off the unworthy chains. Far away on the borders of the desert, she will find peace with _Assad_.

## Act IV. Again the scene changes. On the border of the desert stands

the asylum of the young women consecrated to God in which _Sulamith_ has found rest from the deceitful world. _Assad_ staggers hither; a weary, banished man. And again the _Queen of Sheba_ appears before him offering him her love. But he flees from the false woman for whom he had sacrificed _Sulamith_, the noble one. A desert storm arises, burying _Assad_ in the sand. When the sky becomes clear again _Sulamith_, taking a walk with her maidens, finds her lover. She pardons the dying man and points out to him the eternal joys which they will taste together.

THE CRICKET ON THE HEARTH

Opera in three acts, by Carl Goldmark, text by M. Willner, after the story by Charles Dickens. Produced, Berlin, 1896; in this country, 1910.

CHARACTERS

JOHN _Baritone_ DOT, his wife _Soprano_ MAY _Soprano_ EDWARD PLUMMER _Tenor_ TACKLETON _Basso_ THE CRICKET _Soprano_

_Time_--Early Part of 19th Century.

_Place_--An English Village.

## Act I. Room in _John's_ house. Invisible chorus of elves. To the

_Cricket_, the guiding spirit of the house, _Dot_ confides her secret. She hopes soon to have a child. _May_, a pretty young girl, a toymaker, is to be married the next day to _Tackleton_, her employer. She bemoans her fate. She still loves _Edward Plummer_, who disappeared several years before. After _May's_ departure _John_ appears with _Edward_, disguised as a sailor, and is not recognized either by _John_ or the villagers.

## Act II. A garden. _May_ and _Tackleton_ are supping together. _John_

makes _Tackleton_ jealous of the stranger, _Edward_, who, seeing that _May_ is only marrying _Tackleton_ because his wealth will save her old foster-father from want, reveals his identity to _Dot_. _Tackleton_ now makes _John_ jealous of _Edward_, but _John_ is lulled to sleep by the _Cricket_, and dreams of himself as a happy father.

## Act III. _May_ resolves to be true to _Edward_. Recognizing him (after

his song, "Hulla, list to the Seas"), they drive off in _Tackleton's_ carriage. _John_ is told of _Dot's_ secret. Reconciliation, with the _Cricket_ chirping merrily. There is much pretty music (for instance, the quintet on the hearth in the second act, and _Edward's_ song), which, however, has not sufficed to keep the piece in the repertoire in this country.

KÖNIGSKINDER

KING'S CHILDREN

Opera by Engelbert Humperdinck with a libretto by Ernst Rosmer. The first performance on any stage was at the Metropolitan Opera House, December 28, 1910, with the following cast:

DER KÖNIGSSOHN _Herman Jadlowker_ DIE GANSEMAGD _Geraldine Farrar_ DER SPIELMANN _Otto Goritz_ DIE HEXE _Louise Homer_ DER HOLZHACKER _Adamo Didur_ DER BESENBINDER _Albert Reiss_ ZWEI KINDER _Edna Walter and Lotta Engel_ DER RATSALTESTE _Marcel Reiner_ DER WIRT _Antonio Pini-Corsi_ DIE WIRTSTOCHTER _Florence Wickham_ DER SCHNEIDER _Julius Bayer_ DIE STALLMAGD _Marie Mattfeld_ ZWEI TORWACHTER _Ernst Maran and William Hinshaw_

[Illustration: Photo by White

Farrar as the Goose Girl in "Königskinder"]

A king's daughter forced to act as a goose-girl in a forest, by an old witch who has cast a spell upon her, is discovered and loved by a king's son. Though she returned his love and would gladly go with him she finds that she cannot break the spell which holds her a prisoner in the forest. Leaving the crown at her feet the prince continues his wanderings. No sooner has he gone than a broom-maker and a wood-chopper guided by a wandering minstrel come to the witch's hut. They are ambassadors from the city of Hellabrunn which has been so long without a sovereign that the people themselves feel sadly in need of a government. The ambassadors ask the witch who this ruler shall be and by what signs the people may recognize him. The witch answers that their ruler will be the first person who enters the gates of the city after the bells have rung the hour of noon on the following day, which is the day of the festival of Hella. The minstrel notices the beautiful goose-girl and recognizes her to be of royal birth. He breaks the spell of the witch and forces her to give the lovely maiden into his keeping. He persuades her to break the enchantment and defy the evil powers by which she has been bound.

The prince, meanwhile, is at Hellabrunn, acting as a swineherd. The innkeeper's daughter loves the handsome young man but he proudly repulses her advances. He dreams of the goose-girl. The innkeeper's daughter revenges herself by proclaiming him a thief. As he is about to be led away to prison the bells announce the hour of the festival, and the gates are thrown open in expectation of the new ruler. Through the gates comes the goose-girl, wearing her wreath of flowers and followed by her geese and the minstrel. The lovers embrace. But only the minstrel and a little child recognize their royal rank. The townspeople, thinking that their sovereign would appear in royal regalia, drive the kings' children from the city, burn the witch, and break the minstrel's leg on a wheel.

The two lovers lose their way in a forest as the snow falls. They both die of a poisoned loaf made by the witch. The children of Hellabrunn, guided by a bird, find them buried under the same tree under which they had first met.

HÄNSEL UND GRETEL

A fairy opera in three acts. Music by Engelbert Humperdinck. Book by Adelheid Wette.

[Illustration: Copyright photo by Dupont

Van Dyck and Mattfeld as Hänsel and Gretel]

The first act represents the hut of a broom-maker. _Hänsel_ is binding brooms and _Gretel_ is knitting. The children romp, quarrel, and make up. When their mother, _Gertrude_, enters she is angry to see them idle, but wishing to strike them, she upsets a pitcher of milk instead. With all hope of supper banished she sends the children out into the woods with little baskets to look for strawberries, while she herself, bemoaning their poverty, sinks exhausted upon a chair and falls asleep. A riotous song announces the approach of her husband, drunk as usual. She is about to utter reproaches when she notices that he has brought sausages, bread and butter, coffee--enough for a feast. He tells her that he has had good luck at the Kirmes and bids her prepare supper. When he asks for the children he is horrified to hear that they have been sent into the woods, for a wicked fairy lives near the Ilsenstein who entices children to bake them in her oven and devour them. Both parents rush off in search of _Hänsel_ and _Gretel_.

The second act takes place near the Ilsenstein. _Hänsel_ has filled his basket with berries and _Gretel_ has made a wreath with which her brother crowns her. Before they realise what they are doing the children eat all the berries. Then they see that it is both too dark to look for any more or to find their way home. _Gretel_ weeps with fear. _Hänsel_ comforts her. They grow sleepy. The sandman sprinkles sand into their eyes, but before going to sleep the children are careful not to forget their evening prayer. Fourteen guardian angels are seen descending the heavenly ladder to protect them.

Morning comes with the third act. The dew fairy sprinkles dew on the children. Suddenly they notice a little house made of cake and sugar. They start to break off little bits when a voice cries out from within and the witch opens the door. She throws a rope around _Hänsel's_ throat, urging them both to enter. Frightened, they try to escape, but after binding them with a magic spell she imprisons _Hänsel_ in a kennel, [Transcriber's Note: missing 'and'] she forces _Gretel_ to go into the house.

When she believes _Hänsel_ to be asleep she turns her attention to the oven, then rides around the house on her broom-stick. When she alights she orders _Hänsel_ to show her his finger. But it is still thin and the witch orders more food for him. While she turns her back, _Gretel_, seizing the juniper bough, speaks the magic words and breaks her brother's enchantment. Then the witch tells _Gretel_ to get into the oven and see if the honey cakes are done. But _Gretel_ pretends to be stupid and asks her to show her how to get in. Together the children push the old witch into the oven and slam the door. The oven soon falls to pieces. The children then see a row of boys and girls standing stiffly against the house. _Gretel_ breaks the spell for them as she had done for _Hänsel_. There is general rejoicing. _Gertrude_ and _Peter_ now appear, the old witch is pulled out of the ruined oven as gigantic honey cake and everyone on the stage joins in a hymn of thanksgiving.

THE GOLDEN CROSS

Opera in two acts. Music by Brüll; text by H. Mosenthal, after the French. Produced: Berlin, December 22, 1875.

CHARACTERS

GONTRAN DE L'ANERY, a young nobleman _Tenor_ COLAS, an innkeeper _Baritone_ CHRISTINE, his sister _Soprano_ THÉRÈSE, his bride _Soprano_ BOMBARDON, a sergeant _Bass_

_Time_--1812.

_Place_--Melun, near Paris.

## Act I. The town of Melun is suffering heavily from the great campaign

which Napoleon is undertaking against Russia in 1812, so many of the young men must take the field. Among the hardest hit are _Thérèse_ and _Christine_, the first a bride, the other a beloved sister. Their _Colas_ has been taken away; if he can find no substitute he must go to the war. _Sergeant Bombardon_, who is to take away the drafted men, is already in town with his soldiers. At the same time as the sergeant, a young nobleman, _Gontran de l'Anery_, arrives. He hears that _Christine_ has promised her hand to the man who goes to war in place of her brother. She will give him a golden cross and when he brings it back will be his bride. But no one has the desire to expose himself to the hazards of war. Then _Gontran_, seized by a violent love, decides to take _Colas'_ place. Through the sergeant he sends for the cross. _Christine_ does not know who has offered himself for her brother.

## Act II. Three years have passed. In the house of the innkeeper

_Colas_, now as brave as before, having been wounded in battle with the invading enemy, _Captain Gontran_ finds himself received as a severely wounded person. He loves his nurse _Christine_ with all his heart and she also is attached to him. He even has a claim upon her as having been once a substitute for her brother, but he will not force her affections, and besides, he no longer has "the golden cross." _Christine_ too dares not follow her inclinations for, as _Gontran_ tells her that it was he who went to the war, she would offend him very much if she, true to her oath, should ask for the cross. This also reappears. A cripple, in whom one would scarcely recognize the former stalwart _Sergeant Bombardon_, is the bearer. _Christine's_ heart nearly breaks, but she does not hesitate to keep her word. But no! _Bombardon_ is not an impostor. He got the cross from a dying man. Yet, who is this? Dare he trust his eyes? The man whom he believed dead comes out of the house. It is _Gontran_. What happiness for the two lovers!

VERSIEGELT

SEALED IN

Opera in one act after Raupach. Music by Blech. Words by Richard Batka and Pordes-Milo. Produced: Hamburg, November 4, 1908.

CHARACTERS

BRAUN, a burgomaster _Baritone_ ELSE, his daughter _Soprano_ FRAU GERTRUD, a young widow _Mezzo-Soprano_ FRAU WILLMERS _Alto_ BERTEL, her son, a court clerk _Tenor_ LAMPE, a bailiff _Bass_

_Time_--1830.

_Place_--A small German town.

In the centre of the whole scene stands a sideboard. This same sideboard belongs to _Frau Willmers_ who now comes running to the apartment of the pretty young widow, _Gertrud_, with every sign of agitation, to tell her that the bailiff, _Lampe_, intends to seize her sideboard, an old and valuable heirloom. The burgomaster bears her ill will because her son _Bertel_ has been casting eyes at his daughter _Else_, and now takes occasion to inflict on her this disgrace. To escape this she begs her lodger the favour of taking in the sideboard for her. _Frau Gertrud_ is very willing. She has a grudge against the burgomaster. He used to call on her almost every day, and _Frau Gertrud_ allowed herself to hope that sometime she would become the _Frau_ burgomistress. Nevertheless, she would very willingly accelerate his decision. Scarcely is the sideboard, with the help of a neighbour, happily installed at _Frau Gertrud's_ than _Bertel_, _Frau Willmers'_ son and the burgomaster's daughter _Else_ enter. They have made every effort to make the burgomaster kindly disposed but it was in vain. But as the couple have decided not to give up each other, they have come to _Frau Gertrud_ to beg her influence with the burgomaster. When she thus receives confirmation of her suspicion of the burgomaster's liking for her, she naturally is not averse to the rôle of matchmaker. Out of her beautiful dreams of the future the young woman, left alone by her neighbours, is aroused by a knock. But it is not the burgomaster, whom she secretly expected, but the bailiff, _Lampe_. Loquacious, conceited, and intrusive, he begins by telling her all his merits and his skill, brings greetings to the widow, as the burgomaster has commissioned him. The sideboard seems to him very suspicious. So now he will go only to _Frau Willmers'_ to convince himself whether his suspicion is well founded. As soon as he has gone the burgomaster comes. He also makes use of evasions and then confides to his gentle friend the anxieties of a father. It grieves him very much that his _Else_ loves this _Bertel_, son of his bitterest enemy, who is now dead. _Frau Gertrud_, however, interests her self bravely in favour of her protégés. Her remark that the burgomaster surely has not a heart of stone, brings him nearer to realizing his own condition. Instead of the children he now talks of himself. First he is seeking for a sign that she means well by him with her advice. Soon she has led him so far that he confesses his love for her and begs a kiss. The twilight that has begun favours the idyll. Then again comes the trouble-maker _Lampe_. Nothing worse can happen to the couple than to be discovered by this gossiper. So the burgomaster must hide in order to save his own and _Frau Gertrud's_ reputation. But where? There is nothing better than the empty sideboard. Scarcely has the somewhat corpulent burgomaster fortunately concealed himself in it than _Lampe_ enters the apartment and, "In the name of the authorities" seals up the sideboard. Unfortunately the burgomaster in his hiding place finds himself not so quiet as caution demanded. The sound does not escape _Lampe_ and his evil thoughts scent here something very improper. Surely there is a lover concealed in the sideboard, and he goes away with the malicious idea of finding the burgomaster to tell him that _Frau Gertrud_ is not the right sort of woman for him. But _Frau Gertrud_ is sure of her point and, as _Bertel_ and _Else_ also come in with _Frau Willmers_, a plot is soon concocted by the four so that the happiness of everybody will result from this favourable accident. The two women leave the young couple alone so that through a put-up game on the father everything will be obtained. _Else_ plays the lovesick girl, _Bertel_ on the other hand the virtuous one whose respect for the burgomaster knows no bounds. So he refuses to accept _Else's_ love against the will of her father and she, desperate, wants to run away when a voice proceeds from the sideboard. Now the father and burgomaster must humbly beg of his clerk that he take upon himself the offence of breaking the seal and letting him out of the sideboard. Naturally, the first takes place after _Else_ has dictated the marriage contract. The burgomaster, who at all hazards must get out before _Lampe_ comes back, consents to everything. _Bertel_ employs his profession in writing out the whole contract and through a peephole in the sideboard the burgomaster has to sign it before the door is finally opened to him. But he makes his terms. In place of himself, _Bertel_ and _Else_ must enter the sideboard. Naturally they do not hesitate long and they are for the first time together undisturbed within it. The burgomaster has concealed himself in the next room when the two women come back with a gay company. (The following very indelicate passage, which endangers all the sympathy of the audience for _Frau Gertrud_, might easily be cut out.) _Frau Gertrud_ has brought people from a nearby shooters' festival to show them the trapped burgomaster, evidently because she believes her scheme more assured thus. All the greater is the astonishment when the young couple step out of the opened sideboard. But the burgomaster all of a sudden appears in the background. Then _Frau Gertrud_ cleverly takes everything on herself. She had shut up the young couple in it and had spread the report that the burgomaster was concealed in it in order that he might be affected by it and could no longer oppose the union of the two young people. Surely everything is solved satisfactorily when _Lampe_ arrives with every sign of agitation. He has not found the burgomaster, and _Else_ and the clerk of the court have disappeared. The burgomaster must certainly have been murdered by the clerk. _Lampe_ rages so long in the excessive indignation of his official power that he himself is shut up in the sideboard and the others, now undisturbed, seal their compact and reseal it.

DER TROMPETER VON SÄKKINGEN

THE TRUMPETER OF SÄKKINGEN

Opera in three acts and a Prologue; music by Viktor E. Nessler; text by Rudolf Bunge after Viktor von Scheffel's poem with the same title. Produced: Leipzig, May 4, 1884.

CHARACTERS

WERNER KIRCHHOFER _Baritone_ KONRADIN, a peasant _Bass_ THE STEWART _Tenor_ THE RECTOR _Bass_ BARON VON SCHÖNAU _Bass_ MARIA, his daughter _Soprano_ COUNT VON WILDENSTEIN _Bass_ HIS DIVORCED WIFE _Alto_ DAMIAN, Count von Wildenstein's son _Tenor_

Prologue. In the Heidelberg palace courtyard there is a merry company of students and peasants gathered in a drinking bout. The enthusiasm for "Old Heidelberg the fine" and for the gay life of a cavalier takes on such a noisy expression that the steward of the _Rector's_ wife orders them to be quiet. _Werner Kirchhofer_, a law student, leaps on a table, the peasant _Konradin_ lends him his trumpet and now there echoes forth the sweet song "which once the Palsgrave Friedrich sang" in honour of the "Palsgravin, the most beautiful of women." But the _Rector_ and the Senate entertain other views of the nightly noise of trumpets and the entire body of students is expelled. So they all seek to become cavaliers.

## Act I. In Säkkingen a great festival is being held, Fridolin's day.

Peasants from the suburbs have come to town for it. There is a suspicious agitation among them. _Konradin_ who is now in the service of the state has his hands full keeping order. What happiness when he sees his old comrade _Werner_. But now as _Maria_, daughter of the _Baron von Schönau_; together with her haughty aunt, the divorced wife of _Count von Wildenstein_, arrive at the church, insurrection breaks out. Who knows what the peasants would not have done to the ladies had not _Werner_ as knightly protector sprung between them. Love at first sight seized the two young people. (Change of scene.) Above in Schönau castle the old baron is again tormented by chills. Serving as a means of lessening his pain comes a letter from his brother-in-law, _Count von Wildenstein_, who announces that he is coming to visit him. He has a son, _Damian_, who would be just the right husband for _Schönau's_ daughter _Maria_. Moreover that would be an opportunity to bring about a reconciliation between the count and his divorced wife, none other than _Maria's_ aunt. The marriage was dissolved and their son was once stolen by gypsies. _Damian_ is a son of the second wife of _Count von Wildenstein_, who is dead. Out of his pleasant thoughts about his future son-in-law and protector of the castle in these evil days the _Baron_ is frightened by the reports of his women about the uprising of the peasants. In the praise that _Maria_ gives to the brave trumpeter is echoed his playing from the Rhine to here. That stirs the old baron like an elixir of youth in his bones. The trumpeter is summoned and a look in _Maria's_ love-warmed eyes is enough for him to accept the Baron's offer to become trumpeter of the castle. Of course the proximity of the young people will not please the aunt.

## Act II. That they love each other both already long know but the

acknowledgment nevertheless would be very beautiful. But the old aunt is always at hand especially at the music lessons which _Werner_ gives to the young woman. A real piece of luck that _Konradin_ is coming today to the castle to bring wine for the May festival. He knows how to arrange it so that the old woman must go to the wine cellar. Now it is all over with pride. _Maria_ lies in the arms of the humble trumpeter. Unfortunately, the old aunt comes back. She is not moved by their prayers, but tells all about it to the excited Baron. Nothing helps, the trumpeter must leave the house. _Maria's_ bridegroom is already chosen. At today's May festival he will take part. _Damian_ is certainly stupid enough but that does not help the lovers. "Would to God that it had not been so beautiful, would to God it had not been!"

## Act III. But _Damian_ is not only stupid, he is also a miserable

coward. That is shown as it now behooves him to defend _Baron von Schönau's_ castle against the revolted peasants. The knights there would have been lost had not relief suddenly come. It is _Werner_ who arrives with a troop of country people. _Maria_ flees to her lover's arms. But alas, he is wounded in the arm. And what is that? That mole? The old _Countess Wildenstein_ recognizes in the trumpeter her son, whom the gypsies once stole. Now naturally there is nothing in the way of the union. Now "young _Werner_ is the happiest man" and who can deny that "Love and trumpet sounds are very useful, good things."

DER EVANGELIMANN

THE EVANGELIST

Music-drama in two acts by Wilhelm Kienzl; text by the composer after a tale by L.F. Meissner. Produced: Berlin, May 4, 1895.

CHARACTERS

FRIEDRICH ENGEL _Bass_ MARTHA, his niece _Soprano_ MAGDALENA, her friend _Alto_ JOHANNES FREUDHOFER, teacher at St. Othmar's _Baritone_ MATTHIAS FREUDHOFER, his brother, actuary in a monastery _Tenor_ ZITTERBART, a tailor and other artisans _Tenor_

## Act I. The feelings in the breast of _Johannes Freudhofer_, the

teacher, do not correspond to the peaceful spectacle of the monastery of the Benedictine Abbey of St. Othmar. He is filled with a savage jealousy of his own brother, _Matthias_, who is actuary in the monastery, because he sees that the affections of _Martha_, the beautiful niece of _Engel_, the steward of the monastery, are denied him. He thinks to injure his brother when he betrays the latter's love to the haughty steward. And the latter actually dismisses _Matthias_ from his office. But with this _Johannes_ has not attained his object. For he himself can spy on them and see the two plighting eternal faithfulness on his secret departure. So the treacherous man resolved upon the complete ruin of the lovers. He sets fire to the monastery. _Matthias_, who is tarrying in the arbour beside his sweetheart hurries out to get help, but is seized by the other as the incendiary out of revenge.

## Act II. Thirty years have elapsed. In the courtyard of a house in

Vienna, _Magdalena_ meets an evangelist in whom she recognizes _Matthias_, the friend of her youth. She herself is here caring for _Johannes_ who is ill. How has _Matthias_ become an evangelist? He tells her his sad history. He had been sentenced to prison for twenty years. When he had finished his punishment he learned that his sweetheart _Martha_ out of grief had sought death in the water. Then he had become a wandering, singing preacher.

Second Part. In the sitting-room, _Johannes_ lies ill. But more than pain disturbs his mind. Then he hears outside the voice of the evangelist. _Magdalena_ must call him in. Without recognizing him _Johannes_ tells his brother of the infamous action through which he had ruined the other's life. And _Matthias_ not only preaches love but practices it too. He forgives his brother who now can die in peace.

DER KUHREIGEN

RANZ DES VACHES

Music-drama in three acts; music by Wilhelm Kienzl; poem by Richard Batka.

CHARACTERS

THE KING _Bass_ MARQUIS MASSIMELLE, commandant _Bass_ BLANCHEFLEUR, his wife _Soprano_ CLEO, their lady at court _Mezzo-Soprano_ CAPTAIN BRAYOLE _Tenor_ PRIMUS THALLUS _Tenor_ DURSEL (_Bass_) and under officers in a Swiss regiment FAVART, under-officer of Chasseurs _Baritone_ DORIS, daughter of the keeper of a canteen in the St. Honoré barracks _Soprano_

_Time_--1792-3.

_Place_--Paris and Versailles.

## Act I. Barracks of St. Honoré. Under penalty of death the Swiss

soldiers have been forbidden to sing their native songs especially the Kuhreigen or "Ranz des Vaches," because songs of their native land always awakened homesickness and had led to desertions. But a quarrel between _Primus Thallus_, of the Swiss, and _Favart_, of the Chasseurs, excites the Swiss and they sing "In the fort at Strassburg" (Zu Strassburg auf der Schanz) the song of the Swiss who became a deserter through homesickness, the song which was forbidden by such a severe decree, especially because it introduced the Kuhreigen or "Ranz des Vaches." Then _Favart_ believed the moment had come to be able to avenge himself. He quickly called an officer to hear the forbidden song. The officer first wants to arrest all the Swiss, but _Primus Thallus_ takes all the blame on himself; he is glad to prevent the others being imprisoned.

## Act II. In the King's bedroom at Versailles the ceremony of the royal

levee is taking place. This medley of laughable ceremonial and the practice of the highest refinement makes a sharp contrast with the wild ferment and discontent among the people, of which, however, no one hears anything in these rooms and will know nothing. So the commandant _Massimelle_ is among those waiting because he has to lay before the _King_ the death sentence on the unsubdued Swiss. Naturally the _King_ thinks nothing about bringing an obsolete law into force again, and leaves the decision to _Massimelle's_ wife, _Blanchefleur_. She begs _Thallus's_ life for herself and wants to learn the fellow manners in her service. Silly as are the thoughts of this whole company, so also are those of _Blanchefleur_. Through a whim she has obtained the release of the young Swiss, now she wants as a reward to have diversion with him. The high authorities already are glad to play shepherds and shepherdesses; what would happen if they could have a real Swiss as a shepherd! _Cleo_, the court lady, is perfectly delighted with the idea and awaits with enjoyment the play in which _Primus Thallus_ shall appear with _Blanchefleur_. But the play takes a serious turn, _Primus Thallus_ sees no joke in the thing. To him, _Blanchefleur_ appears as the image of his dreams, and yet he knows that this dream never can be a reality, at least not for a man to whom, as to this Swiss, love is not merely a form of amusement in life. So _Blanchefleur_ has to give up her shepherd's dream and let _Primus Thallus_ withdraw.

## Act III. The earnest man is very quickly drawn in. In the ruined

dining-hall of the palace of _Massimelle_, the sans-culottes are lodged. _Favart_, under whose direction the castle has been stormed, is vexed at his report for which _Doris_, his sweetheart, and the others with their wild drinking and quarrelling scarcely leave him the possibility. By chance the half-drunken men discover a secret door. They go down into the passage and drag out _Blanchefleur_ who had concealed herself there. _Favart_ wants her to play for the men, but he cannot prevail upon her to do it. With her graceful, distinguished air she refuses to have anything to do with the dirty, uncivilized men and smilingly allows herself to be condemned to death and led away to the frightful prison of the Temple. Hardly has she gone than _Primus Thallus_ enters. He has been promoted by the Directory to be a captain as a reward because he has often been threatened with death by the royalists. His great courage certainly makes an impression on these savage troops, but as _Massimelle_ outside is being led to the scaffold and he learns of the arrest of _Blanchefleur_ only one thought rules him--to save the beautiful woman.

The scene changes to the underground prison of the Temple. One can hardly recognize the figure of _Primus Thallus_ who presents himself here, but one must admit of these aristocrats that while they know how to live laughingly they also know how to die with a smile. While without the guillotine is fulfilling its awful task uninterruptedly, they are dancing and playing here underneath as though these were still the gayest days of the _King's_ delights at Versailles. In vain _Primus Thallus_ uses all his eloquence to persuade _Blanchefleur_ to flee or to give him her hand because then he could obtain a pardon. She has only one reward for his faithfulness: a dance. Then when her name is called she dances with a light minuet step to the scaffold.

LOBETANZ

Opera in three acts; music by Ludwig Thuille; text by Otto Julius Bierbaum. Produced: Carlsruhe, February 6, 1898.

CHARACTERS

LOBETANZ _Tenor_ THE PRINCESS _Mezzo-Soprano_ THE KING _Bass_ THE FORESTER, the executioner, the judge _Speaking parts_ A TRAVELLING STUDENT _Tenor_

## Act I. This play takes place somewhere and somewhen but begins in a

blooming garden in spring. And the most fragrant flowers in the garden are the lovely girls that play in it. Take care, _Lobetanz_; take care! Now that you have leaped over the wall into the garden, still take care! You are a travelling singer, your clothes are tattered; but you are a magnificent fellow and sing as only a bird can sing or a fellow who knows nothing about the illness of the _Princess_. What is the matter with her then? She no longer laughs as she once did, her cheeks are pale, she no longer sings but sighs. "Alas!" Oh, the maidens know what is the matter with her but no one asks the maidens. The poet-laureate today at the festival of the Early Rose Day will announce what is the matter with the child of the _King_. And the _King_ is coming, the _Princess_ and the people. And the poets proudly strut in and make known their wisdom. But that does not help. Now the sound of a violin is heard. How the _Princess_ listens and now the player comes before her and fiddles and sings and the maid revives. Roses bloom on her cheeks; her eyes shine in looking at the violinist who is singing of the morning in May when they kissed each other, innocently dear, and played "bridegroom and bride." You must flee, _Lobetanz_, flee; that is magic with which you are subduing the child of the _King_.

## Act II. Spring has awakened your heart, you happy singer, and has

brought to life what was asleep deep within you. Now you may dream of what will be. And see, she comes to you, the sick _Princess_, to be restored to health by you. And she sits there by you in the branch of a linden tree. But alas, alas! The _King_ and his hunting train are suddenly there and all things have an end.

## Act III. In a dungeon sits the bird once so gay. For "dead, dead, dead

must he be and so slip with hurrahs into the infernal abode." And they lead you to the gallows and tell you your sentence. And the _King_ and the people, the envious singers and the _Princess_ sick unto death on her bier are all there. Now choose your last present, you poor gallows bird. So let me once more sing. And, "see, Oh see, how the delicate face is covered with a rosy glow." He is singing her back to life, the lovely _Princess_, until finally she flees to his arms: "Thou art mine!" Now leave the gallows, there is a wedding today. "A great magician is _Lobetanz_, let the couple only look, the gallows shine with luck and lustre; spring has done wonders."

DER CORREGIDOR

THE MAGISTRATE

Opera in four acts; music by Hugo Wolf; text by Rosa Mayreder-Obermayer. Produced: Mannheim, June 7, 1896.

CHARACTERS

THE CORREGIDOR (magistrate) _Tenor_ DOÑA MERCEDES, his wife _Soprano_ REPELA, his valet _Bass_ TIO LUCAS, a miller _Baritone_ FRASQUITA, his wife _Mezzo-Soprano_ JUAN LOPEZ, the alcalde _Bass_ PEDRO, his secretary _Tenor_ MANUELA, a maid _Mezzo-Soprano_ TONUELO, a court messenger _Bass_

## Act I. The miller, _Tio Lucas_, is living a happy life with his

beautiful wife, _Frasquita_. Her love is so true that jealousy, to which he is inclined, cannot thrive. Jealous? Yes, he has a bump of jealousy. True, the _Corregidor_, who eagerly concerns him about the miller's pretty wife, has one too. But no matter, he is a high, very influential functionary. Meanwhile _Frasquita_ loves her _Tio Lucas_ so truly that she can even allow herself a dance with the _Corregidor_. Perhaps she will cure him so, perhaps she will obtain in addition the wished-for official place for her nephew. The _Corregidor_ too does not keep her waiting long and _Frasquita_ makes him so much in love with her that he becomes very impetuous. Thereupon he loses his balance and the worthy official falls in the dust, out of which the miller, without suspecting anything, raises him up. But the _Corregidor_ swears revenge.

## Act II. The opportunity for this comes very quickly. As the miller one

evening is sitting with his wife in their cozy room, there comes a knock at the door. It is the drunken court messenger, _Tonuelo_, who produces a warrant of arrest. _Tio Lucas_ must follow him without delay to the alcalde who has lent himself as a willing instrument to the _Corregidor_. _Frasquita_ is trying to calm her anxiety with a song when outside there is a cry for help. She opens the door and before it stands the _Corregidor_ dripping with water. He had fallen in the brook. Now he begs admission from _Frasquita_ who is raging with anger. He has also brought with him the appointment of the nephew. But the angry woman will pay no attention and sends the _Corregidor_ away from her threshold. Then he falls in a swoon. His own servant now comes along. _Frasquita_ admits both of them to the house and herself goes into town to look for her _Tio Lucas_. When the _Corregidor_, awakened out of his swoon, hears this, full of anxiety, he sends his valet after her; he himself, however, hangs his wet clothes before the fire and goes to bed in the miller's bedroom.

(Change of scene.) In the meantime _Tio Lucas_ has drunk under the table the alcalde and his fine comrades and seizes the occasion to flee.

## Act III. In the darkness of the night, _Tio Lucas_ and _Frasquita_

pass by without seeing each other. The miller comes to his mill. (Change of scene.) Everything is open. In the dust lies the appointment of the nephew; before the fire hang the _Corregidor's_ clothes. A frightful suspicion arises in _Tio Lucas's_ mind which becomes certainty when through the keyhole he sees the _Corregidor_ in his own bed. He is already groping for his rifle to shoot the seducer and the faithless woman when another thought strikes him. The _Corregidor_ also has a wife, a beautiful wife. Here the _Corregidor's_ clothes are hanging. He quickly slips into them and goes back to town. In the meantime the _Corregidor_ has awakened. He wants to go back home now. But he does not find his clothes and so he crawls into those of the miller. Thus he is almost arrested by the alcalde who now enters with his companions and _Frasquita_. When the misunderstanding is cleared up, they all go with different feelings into the town after the miller.

## Act IV. Now comes the explanation and the punishment of the

_Corregidor_, at least in so far as he receives a sound thrashing and becomes really humbled. In reality the miller also has not yet had his "revenge," but he is recognized and likewise is beaten blue. That he must suffer in reparation for his doubt of the faithful _Frasquita_, and he hears it willingly for they have now come to a good understanding about everything.

Richard Strauss

Richard Strauss was born at Munich, June 11, 1864. His father, Franz Strauss, was a distinguished horn player in the Royal Opera orchestra. From him Richard received rigid instruction in music. His teacher in composition was the orchestral conductor, W. Meyer. At school he wrote music on the margins of his books. He was so young at the first public performance of a work by him, that when he appeared and bowed in response to the applause, someone asked, "What has that boy to do with it?" "Nothing, except that he composed it," was the reply.

Strauss is best known as the composer of many beautiful songs and of the orchestral works _Tod und Verklaerung_ (Death and Transfiguration), and _Till Eulenspiegel's Lustige Streiche_ (Till Eulenspiegel's Merry Pranks). The latter is a veritable _tour de force_ of orchestral scoring and a test of the virtuosity of a modern orchestra. _Thus Spake Zarathustra_, _Don Quixote_, and _Ein Heldenleben_ (A Hero's Life) are other well-known orchestral works by him. They are of large proportions. To the symphony, and the symphonic poem, Strauss has added the tone poem as a form of instrumental music even freer in its development than the symphonic poem, which was Liszt's legacy to music.

FEUERSNOT

FIRE FAMINE

Opera in one act. Music by Richard Strauss; text by Ernst von Wolzogen. Produced: Dresden, November 21, 1901.

CHARACTERS

SCHWEIKER VON GUNDELFINGEN, keeper of the castle _Tenor_ ORTOLF SENTLINGER, burgomaster _Bass_ DIEMUT, his daughter _Soprano_ KUNRAD, the leveller _Baritone_

_Time_--13th Century.

_Place_--Munich.

The action takes place in Munich on the day of the winter solstice in olden times. At the time of the representation the twelfth century has just passed. A big crowd of children, followed by grown-ups, is going in whimsical wantonness from house to house to collect wood for the solstitial fire ("Subendfeuer"). After they have collected rich booty at the burgomaster's they go over to the house opposite. It appears strangely gloomy. Shutters and doors are closed as though it were empty. Yet a short time ago young _Herr Kunrad_ lived there. It is his legal inheritance and property, a legacy from his ancestor who was an "excellent sorcerer" and now taken possession of after a long absence. Nevertheless, the superstition of the masses had been much concerned with the house. The most reasonable was that its occupant was a strange fellow, the majority thought him a gloomy magician. In reality the young man sat in the house poring over books. The noise of the children calls him forth. When he hears that it is the solstice, the great festival of his profession, an agitation seizes him in which he tells the children to take away all the wood from his house. This destruction stirs the townsmen but _Kunrad_ is so struck at sight of _Diemut_, who seems to him like a revelation of life, that he dashes through the townsmen and kisses the girl on the mouth. The agitation of the townsmen is silenced sooner than _Diemut's_ who plans revenge for this outrage.

Now the townsmen are all out of doors on account of the solstitial holiday. But in _Kunrad's_ heart the promptings of love are blazing like a fire. A mad longing for _Diemut_ seizes him, and as she now appears on her balcony he begs for her love with warm words. The spark has also been well kindled in her heart, but still she only thinks of revenge. So she lures him toward the side street where the order basket still stands on the ground. _Kunrad_ steps into it and _Diemut_ hauls him upward. But halfway up she lets him hang suspended. So _Kunrad_ becomes a laughing-stock for the townsmen returning home. Then a fearful rage seizes upon him; he makes use of his magic art: "May an ice-cold everlasting night surround you because you have laughed at the might of love." Every light is extinguished and a deep darkness covers the town and its inhabitants. Now _Kunrad_ from the balcony, addresses the townsmen, furious with rage in a speech filled with personal references whose basic idea is that the people always recognize and follow their great masters. So they have sadly mistaken his purpose and the maid whom he had chosen had mocked him. For punishment their light is now extinguished. Let all the warmth leave the women, all the light of love depart from ardent young maidens, until the fire burns anew. Now the tables are turned. All recognize in _Kunrad_ a great man. In their self-reproaches are mingled complaints about the darkness and an imploring cry to _Diemut_ by her love to make an end of the lack of fire. But _Diemut_ in the meantime has changed her mind; love in her too gets the upper hand as the sudden rekindling of every light makes known.

GUNTRAM

Music-drama in three acts: music and words by Richard Strauss. Produced: Weimar, May 10, 1894.

CHARACTERS

THE OLD DUKE _Bass_ FREIHILD, his daughter _Soprano_ DUKE ROBERT, her betrothed _Baritone_ GUNTRAM, a singer _Tenor_ FRIEDHOLD, a singer _Bass_ THE DUKE'S CLOWN _Tenor_

_Time_--Thirteenth Century.

_Place_--A German duchy.

## Act I. _Guntram_ has been brought up to manhood as pupil of the

religious knightly Band of the Good. This band has set for itself the realization of the Christian idea of love for the soul. The brotherly union of all men, who shall be brought through love to world peace is the aim of the band, the noble art of song its means of obtaining recruits. _Guntram_ seems to his teacher _Friedhold_ ready for the great work and so he is assigned to a difficult task. The _Old Duke_ has given the hand of his daughter _Freihild_, and also his estate, to _Duke Robert_. The latter, the only one of the powerful tyrants left, through his oppression had so stirred up the peaceful people that they rose against his rule. Then he had put down the rising cruelly and had burdened the unfortunate people so heavily that they were thinking of leaving their homes. _Freihild_ most deeply sympathizes with the people and had given her hand to the _Duke_ only unwillingly, and she seeks in the happiness of the people consolation for her loveless life. But the _Duke_ has forbidden her this work of love and she seeks release from life in a voluntary death in the waters of the lake. _Guntram_ rescues her. The _Old Duke_, out of gratitude for saving his daughter, promises pardon to the rebels and invites the singer to the feast that is to be given in the ducal palace in celebration of the putting down of the rebellion.

## Act II. At the festive banquet _Guntram_, relying upon the power of

the thought of love as presented by him, will make use of the occasion to win the _Duke's_ heart for peace. The _Duke_, whose _clown_ has just irritated him, in a rage interrupts _Guntram_. But the latter is protected by the vassals all of whom at heart are angry at the cruel ruler. When a messenger brings news of a new revolt, a vote is taken and they all decide for war. Then _Guntram_ reminds them anew of peace in inspired songs. In a rage the _Duke_ scorns him as a rebel, assaults him and, after a brief wrestle, _Guntram_ strikes down the tyrant. Then the _Old Duke_ has him thrown into a dungeon and goes off with the vassals to put down the rebellion again. But _Freihild_, whose heart is inflamed with love for the bold, noble singer, conspires with the _clown_ to save him and flee with him.

## Act III. In the gloomy dungeon in which _Guntram_ is awaiting his

punishment, the young hero has plenty of leisure to meditate on his deeds and their motives. The Band of the Good has sent _Friedhold_ to him in order that he may ask of him an account of his sinful deed. For such an act is considered as murder in every case. _Guntram_ feels that he is not guilty in the opinion of the Band but is self-convicted in the opinion of the highest humanity. For he cannot conceal from himself that the passionate love for _Freihild_, wife of the _Duke_, which burns in his heart, led him to his deed. Therefore, he can certainly reject the reproach of the Band, but he charges himself with renunciation as expiation for his deed. He has taught himself that true freedom cannot be attained unless it is acquired by one's own power and victory over one's self. So the Band of the Good is caught in an error and _Guntram_ renounces his connection with them. But _Freihild_, who has succeeded to the duchy since the _Old Duke_ has fallen on the field, he refers to the godly message which calls her to promote the happiness of the people. In this noble task she will find indemnification for the personal sacrifice of her lost love. The singer withdraws thence into solitude.

SALOME

Opera in one act by Richard Strauss; words after Oscar Wilde's poem of the same title, translated into German by Hedwig Lachmann. Produced at the Court Opera, Dresden, December 9, 1905. Metropolitan Opera House, New York, 1907, with Olive Fremstad; Manhattan Opera House, New York, with Mary Garden.

CHARACTERS

HEROD ANTIPAS, Tetrarch of Judea _Tenor_ HERODIAS, wife of Herod _Mezzo-Soprano_ SALOME, daughter of Herodias _Soprano_ JOKANAAN (John the Baptist) _Baritone_ NARRABOTH, a young Syrian, Captain of the Guard _Tenor_ A PAGE _Alto_

A young Roman, the executioner, five Jews, two Nazarenes, two soldiers, a Cappadocian and a slave.

_Time_--About 30 A.D.

_Place_--The great terrace in the palace of Herod at Tiberias, Galilee, the capital of his kingdom.

On the great terrace of _Herod's_ palace, off the banquet hall, is his body-guard. The ardent looks of the young captain, _Narraboth_, a Syrian, are directed toward the banquet hall where _Salome_ is seated. In vain the _Page_, who is aware of the neurotic taint in the woman, warns him. The young captain is consumed with ardent desires.

The night is sultry. The soldiers' talk is interrupted by the sounds from the hall. Suddenly there is heard a loud and deep voice, as from a tomb. Dread seizes even upon the rough soldiers. He who calls is a madman according to some, a prophet according to others, in either case, a man of indomitable courage who with terrifying directness of speech brings the ruling powers face to face with their sins and bids them repent. This is _Jokanaan_. His voice sounds so reverberant because it issues from the gloomy cistern in which he is held a captive.

Suddenly _Salome_, in great commotion, steps out on the terrace. The greedy looks with which the _Herod_, her stepfather, has regarded her, as well as the talk and noisy disputes of the gluttons and degenerates within have driven her out. In her stirs the sinful blood of her mother, who, in order that she might marry _Herod_, slew her husband. Depraved surroundings, a court at which the satiating of all desires is the main theme of the day, have poisoned her thoughts. She seeks new pleasures, as yet untasted enjoyments. Now, as she hears the voice of the _Prophet_, there arises in her the lust to see this man, whom she has heard her mother curse, because he has stigmatized her shame, and whom she knows the Tetrarch fears, although a captive. What she desires is strictly forbidden, but _Narraboth_ cannot resist her blandishments. The strange, gloomy figure of the _Jokanaan_, fantastically noble in the rags of his captivity, stirs _Salome's_ morbid desires. Her abandoned arts are brought into full play in her efforts to tempt him, but with the sole result that he bids her do penance. This but adds fuel to the flame. When _Narraboth_, in despair over her actions, kills himself on his own sword, she does not so much as notice it. Appalled by the wickedness of the young woman, the _Prophet_ warns her to seek for the only one in whom she can find redemption, the Man of Galilee. But realizing that his words fall on deaf ears, he curses her, and retreats into his cistern.

[Illustration: Copyright photo by Mishkin

Mary Garden as Salome]

_Herod_, _Herodias_, and their suite come out on the terrace. _Herod_ is suffering under the weight of his crimes, but the infamous _Herodias_ is as cold as a serpent. _Herod's_ sinful desire for his stepdaughter is the only thing that can stir his blood. But _Salome_ is weary and indifferent; _Herodias_ full of bitter scorn for him and for her daughter. Against the _Prophet_, whose voice terrifies the abandoned gatherings at table, her hatred is fierce. But _Herod_ stands in mysterious awe of the _Prophet_. It is almost because of his dread of the future, which _Jokanaan_ proclaims so terribly, that _Herod_ asks as a diversion for _Salome's_ dance in order that life may flow warm again in his chilled veins. _Salome_ demurs, until he swears that he will grant any request she may make of him. She then executes the "Dance of the Seven Veils," casting one veil after another from her. _Herod_ asks what her reward shall be. In part prompted by _Herodias_, but also by her own mad desire to have vengeance for her rejected passion, she demands the head of the _Prophet_. _Herod_ offers her everything else he can name that is most precious, but _Salome_ refuses to release him from his promise. The executioner descends into the cistern. _Jokanaan_ is slain and his severed head presented to _Salome_ upon a silver charger. Alive he refused her his lips. Now, in a frenzy of lust, she presses hers upon them. Even _Herod_ shudders, and turns from her revolted. "Kill that woman!" he commands his guards, who crush her under their shields.

Regarding the score of "Salome," Strauss himself remarked that he had paid no consideration whatever to the singers. There is a passage for quarrelling Jews that is amusing; and, for a brief spell, in the passage in which _Salome_ gives vent to her lust for _Jokanaan_, the music is molten fire. But considered as a whole, the singers are like actors, who intone instead of speaking. Whatever the drama suggests, whatever is said or done upon the stage--a word, a look, a gesture--is minutely and realistically set forth in the orchestra, which should consist of a hundred and twelve pieces. The real musical climax is "The Dance of the Seven Veils," a superb orchestral composition.

Strauss calls the work a drama. As many as forty motifs have been enumerated in it. But they lack the compact, pregnant qualities of the motifs in the Wagner music-dramas which are so individual, so melodically eloquent that their significance is readily recognized not only when they are first heard, but also when they recur. Nevertheless, the "Salome" of Richard Strauss is an effective work--so effective in the setting forth of its offensive theme that it was banished from the Metropolitan Opera House, although Olive Fremstad lavished her art upon the title rôle; nor have the personal fascination and histrionic gifts of Mary Garden been able to keep it alive.

At the Metropolitan Opera House, then under the direction of Heinrich Conried, it was heard at a full-dress rehearsal, which I attended, and at one performance. It was then withdrawn, practically on command of the board of directors of the opera company, although the initial impulse is said to have come from a woman who sensed the brutality of the work under its mask of "culture."

ELEKTRA

Opera in one act by Richard Strauss; words by Hugo von Hofmannsthal. Produced: Dresden, January 25, 1909. Manhattan Opera House, New York, in a French version by Henry Gauthier-Villars, and with Mazarin as _Elektra_.

CHARACTERS

CLYTEMNESTRA, wife of _Aegisthus_ _Mezzo-Soprano_ ELEKTRA } her daughters by the { _Soprano_ CHRYSOTHEMIS } murdered king Agamemnon { _Soprano_ AEGISTHUS _Tenor_ ORESTES _Baritone_

Preceptor of _Orestes_, a confidant, a train bearer, an overseer of servants, five serving women, other servants, both men and women, old and young.

_Time_--Antiquity.

_Place_--Mycenae.

Storck, in his _Opera Book_, has this to say of Von Hofmannsthal's libretto: "The powerful subject of the ancient myth is here dragged down from the lofty realm of tragedy, to which Sophocles raised it, to that of the pathologically perverse. With a gloomy logic the strain of blood-madness and unbridled lust is exploited by the poet so that the overwhelming effect of its consequences becomes comprehensible. None the less, there is the fact, of no little importance, that through its treatment from this point of view, a classical work has been dragged from its pedestal."

The inner court of the palace in Mycenae is the scene of the drama. Since _Clytemnestra_, in league with her paramour, _Aegisthus_, has compassed the murder of her husband, _Agamemnon_, her daughter _Elektra_ lives only with the thought of vengeance. She exists like a wild beast, banished from the society of human beings, a butt of ridicule to the servants, a horror to all, only desirous of the blood of her mother and _Aegisthus_ in atonement for that of her father. The murderers too have no rest. Fear haunts them.

_Elektra's_ sister, _Chrysothemis_, is entirely unlike her. She craves marriage. But it is in a disordered way that her desire for husband and child is expressed. _Clytemnestra_ also is morbidly ill. Deeply she deplores her misdeed, but for this very reason has completely surrendered herself to the unworthy _Aegisthus_. So frightfully do her dreams torment her that she even comes to seek help from the hated Elektra in her hovel in the inner court. It is the latter's first triumph in all her years of suffering. But it is short-lived, for _Clytemnestra_ mocks her with the news that _Orestes_ has died in a distant land. A terrible blow this for _Elektra_, who had hoped that _Orestes_ would return and wreak vengeance on the queen and _Aegisthus_. Now the daughters must be the instruments of vengeance. And as _Chrysothemis_, shocked, recoils from the task, _Elektra_ determines to complete it alone. She digs up in the courtyard the very axe with which her father was slain and which she had buried in order to give it to her brother on his return.

But the message regarding the death of _Orestes_ was false. It was disseminated by her brother in order to allay the fears of the murderers of his father and put them off their guard. The stranger, who now enters the court, and at first cannot believe that the half-demented woman in rags is his sister, finally is recognized by her as _Orestes_, and receives from her the axe. He enters the palace, slays _Clytemnestra_ and, upon the return of _Aegisthus_, pursues him from room to room and kills him. _Elektra_, her thirst for vengeance satisfied, under the spell of a blood-madness, dances, beginning weirdly, increasing to frenzy, and ending in her collapse, dead, upon the ground, where, since her father's death, she had grovelled waiting for the avenger.

As in "Salome," so in "Elektra" there is a weft and woof of leading motifs which, lacking the compactness, firmness, and unmistakable _raisons d'être_ of the leading motives in the Wagner music-dramas, crawl, twist, and wind themselves in spineless convolutions about the characters and the action of the piece. In "Salome" the score worked up to one set climax, the "Dance of the Seven Veils." In "Elektra" there also is a set composition. It is a summing up of emotions, in one eloquent burst of song, which occurs when _Elektra_ recognizes _Orestes_. It may be because it came in the midst of so much cacophony that its effect was enhanced. But at the production of the work in the Manhattan Opera House, it seemed to me not only one of Strauss's most spontaneous lyrical outgivings, but also one of the most beautiful I had ever heard. Several times every year since then, I have been impelled to go to the pianoforte and play it over, although forced to the unsatisfactory makeshift of playing-in the voice part with what already was a pianoforte transcription of the orchestral accompaniment.

Mme. Schumann-Heink, the _Clytemnestra_ of the original production in Dresden, said: "I will never sing the rôle again. It was frightful. We were a set of mad women.... There is nothing beyond 'Elektra.' We have lived and reached the furthest boundary in dramatic writing for the voice with Wagner. But Richard Strauss goes beyond him. His singing voices are lost. We have come to a full stop. I believe Strauss himself sees it."--And, indeed, in his next opera, "Der Rosenkavalier," the composer shows far more consideration for the voice, and has produced a score in which the melodious elements are many.

DER ROSENKAVALIER

THE KNIGHT OF THE ROSE

Opera in three acts by Richard Strauss; words by Hugo von Hofmannsthal. Produced: Royal Opera House, Dresden, January 26, 1911; Covent Garden, London, January 1, 1913; Metropolitan Opera House, New York, by Gatti-Casazza, December 9, 1913, with Hempel (_Princess Werdenberg_), Ober (_Octavian_), Anna Case (_Sophie_), Fornia (_Marianne_), Mattfeld (_Annina_), Goritz (_Lerchenan_), Weil (_Faninal_), and Reiss (_Valzacchi_).

CHARACTERS

BARON OCHS of Lerchenan _Bass_ VON FANINAL, a wealthy parvenu, recently ennobled _Baritone_ VALZACCHI, an intriguer _Tenor_ OCTAVIAN, Count Rofrano, known as "Quin-Quin" _Mezzo-Soprano_ PRINCESS VON WERDENBERG _Soprano_ SOPHIE, daughter of _Faninal_ _Soprano_ MARIANNE, duenna of _Sophie_ _Soprano_ ANNINA, companion of _Valzacchi_ _Alto_

A singer (_tenor_), a flutist, a notary, commissary of police, four lackeys of _Faninal_, a master of ceremonies, an innkeeper, a milliner, a noble widow and three noble orphans, a hairdresser and his assistants, four waiters, musicians, guests, two watchmen, kitchen maids and several apparitions.

_Time_--Eighteenth century during the reign of Maria Theresa.

_Place_--Vienna.

[Illustration: Photo by White

Hempel as the Princess and Ober as Octavian in "Der Rosenkavalier"]

With the exception of Humperdinck's "Hänsel und Gretel," "Der Rosenkavalier," by Richard Strauss, is the only opera that has come out of Germany since the death of Wagner, which has appeared to secure a definite hold upon the repertoire. Up to the season of 1917-18, when it was taken out of the repertoire on account of the war in Europe, it had been given twenty-two times at the Metropolitan Opera House, since its production there late in 1913.

The work is called a "comedy for music," which is mentioned here simply as a fact, since it makes not the slightest difference to the public what the composer of an opera chooses to call it, the proof of an opera being in the hearing just as the proof of a pudding always is in the eating. So far it is the one opera by Richard Strauss which, after being heralded as a sensation, has not disappeared through indifference.

To those who know both works, the libretto of "Der Rosenkavalier" which has been violently attacked, goes no further in suggestiveness than that of "Le Nozze di Figaro." But it is very long, and unquestionably the opera would gain by condensation, although the score is a treasure house of orchestration, a virtuosity in the choice of instruments and manner of using them which amounts to inspiration. An examination of the full orchestral score shows that 114 instruments are required, seventeen of them for an orchestra on the stage. The composer demands for his main orchestra 32 violins, 12 violas, 10 violoncellos, 8 double basses, 3 flutes, 3 oboes, 2 clarinets, 1 bass clarinet, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, 1 tuba, 2 harps, glockenspiel, triangle, bell, castanets, tympani, side and bass drums, cymbals, celeste, and rattle. A small orchestra for the stage also requires 1 oboe, 1 flute, 2 clarinets, 2 horns, 2 bassoons, 1 trumpet, 1 drum, harmonium, piano, and string quintet.

"Der Rosenkavalier" also contains melodious phrases in number and variety, which rarely permit the bearer's interest to flag. Waltz themes abound. They are in the manner of Johann Strauss and Lanner. It is true that these composers flourished much later than the rococo period in which the opera is laid, but just as it makes no difference what a composer calls an opera, so it makes no difference whether he indulges in anachronisms or not. Gavottes, etc., would have been more in keeping with the period, but the waltz themes served Strauss's purpose far better and are introduced with infinite charm. They give the work that subtle thing called atmosphere, and play their part in making passages, like the finale to the second act, the most significant music for the stage of opera that has been penned in the composer's country since Wagner. They also abound in the scene between _Octavian_ and _Lerchenan_ in the third act.

## Act I. Room in the _Princess von Werdenberg's_ palace. Morning. The

curtain rises after an impassioned orchestral introduction which is supposed to depict _risqué_ incidents of the previous night suggested by the stage directions. These directions were not followed in the production made at the Metropolitan Opera House. Not only did their disregard show respect for the audience's sense of decency, it in no way interfered with the success of the work as a comedy set to music.

_Octavian_, a handsome youth, is taking a passionate leave of the _Princess_, whose husband, a Field Marshal, is away on military duty. _Octavian_ is loath to go, the _Princess_, equally loather to have him depart. For the _Princess_ cannot conceal from herself that in spite of _Octavian's_ present love for her, the disparity in their ages soon will cause him to look to women younger than herself for love.

There is a commotion beyond the door of the _Princess's_ suite of rooms. One of her relatives, the vulgar _Baron Ochs von Lerchenan_, wishes to see her. The servants remonstrate with him that the hour is much too early, but he forces his way in. Taking alarm, and in order to spare the _Princess_ the scandal of having him discovered with her, _Octavian_ escapes into an inner room where he disguises himself in the attire of a chambermaid, a rôle which his youthful, beardless beauty enables him to carry out to perfection.

_Von Lerchenan_ has come to inquire of the _Princess_ if, as she promised, she has sent a Knight of the Rose with an offer of his hand to _Sophie_, daughter of the wealthy, recently ennobled _Herr von Faninal_. A Knight of the Rose was chosen at that period as a suitor by proxy to bear a silver rose, as a symbol of love and fidelity, to the lady of his principal's choice. Unfortunately the _Princess's_ passion for _Octavian_ has entirely diverted her thoughts from _Lerchenan's_ commission. He, however, consoles himself by flirting with the pretty chambermaid, _Octavian_, whose assumed coyness, coupled with slyly demure advances, charms him. Before this, however, he has lost his temper, because he has been unable to engage the _Princess's_ attention amid the distractions provided by her morning levee, at which she receives various petitioners--a singer, _Valzacchi_, and _Annina_, who are Italian intriguers, three noble orphans, and others. This levee, together with the love intrigues and the looseness of manners and morals indicated by the plot, is supposed in a general way to give to the piece the tone of the rococo period in which the story is laid. The scene is a lively one.

_Lerchenan_ is appeased not only by the charms of the supposed chambermaid, who waits on the _Princess_ and her relative at breakfast, but also because he is so eager to make a rendezvous with her. _Octavian_ in his disguise understands so well how to lead _Lerchenan_ on without granting his request, that he forgets the cause of his annoyance. Moreover the _Princess_ promises that she presently will despatch a Knight of the Rose to the daughter of the wealthy _Faninal_ whose wealth, of course, is what attracts _Lerchenan_. The _Princess_ chooses _Octavian_ to be the Knight of the Rose. Later she regrets her choice. For after the handsome youth has departed on his mission, and she is left alone, she looks at herself in the glass. She is approaching middle age, and although she still is a handsome woman, her fear that she may lose _Octavian_, to some younger member of her sex, cannot be banished from her thoughts.

## Act II. Salon in the house of _Herr von Faninal_. This lately ennobled

_nouveau rich_ considers it a great distinction that the _Baron von Lerchenan_, a member of the old nobility, should apply for the hand of his daughter. That the _Baron_ only does it to mend his broken fortunes does not worry him, although his daughter _Sophie_ is a sweet and modest girl. Inexperienced, she awaits her suitor in great agitation. Then his proxy, _Octavian_, comes with the silver rose to make the preliminary arrangements for his "cousin," _Baron von Lerchenan_. _Octavian_ is smitten with the charms of the girl. She, too, is at once attracted to the handsome young cavalier. So their conversation imperceptibly has drifted into an intimate tone when the real suitor enters. His brutal frankness in letting _Sophie_ comprehend that he is condescending in courting her, and his rude manners thoroughly repel the girl. _Octavian_ meanwhile is boiling with rage and jealousy. The girl's aversion to the _Baron_ increases. The two men are on the point of an outbreak, when _Lerchenan_ is called by a notary into an adjoining room where the marriage contract is to be drawn up. _Sophie_ is shocked at what she has just experienced. Never will it be possible for her to marry the detested _Baron_, especially since she has met the gallant _Octavian_. The two are quick in agreeing. _Sophie_ sinks into his arms.

At that moment there rush out from behind the two large chimney pieces that adorn the room, the intriguers, _Valzacchi_ and his companion _Annina_, whom _Lerchenan_ has employed as spies. Their cries bring the _Baron_ from the next room. The staff of servants rushes in. _Octavian_ tells the _Baron_ of _Sophie's_ antipathy, and adds taunt to taunt, until, however reluctant to fight, the _Baron_ is forced to draw his sword. In the encounter _Octavian_ lightly "pinks" him. The _Baron_, a coward at heart, raises a frightful outcry. There ensues the greatest commotion, due to the mix-up of the servants, the doctor, and the rage of _Faninal_, who orders _Sophie_ to a convent when she positively refuses to give her hand to _Lerchenan_. The latter, meanwhile, rapidly recovers when his wound has been dressed and he has drunk some of _Faninal's_ good wine.

_Octavian_ is determined to win _Sophie_. For that purpose he decides to make use of the two intriguers, who are so disgusted by the niggardly pay given them by the _Baron_, that they readily fall in with the plans of the brilliant young cavalier. After the crowd has dispersed and the _Baron_ is alone for a moment, _Annina_ approaches and hands him a note. In this the _Princess's_ chambermaid promises him a rendezvous. _Lerchenan_ is delighted over the new conquest he believes himself to have made.

## Act III. A room in an inn near Vienna. With the help of _Valzacchi_

and _Annina_, who are now in the service both of the _Baron_ and of _Octavian_, but are more prone to further the latter's plans because he pays them better, _Octavian_ has hired a room in an inn. This room is fitted up with trapdoors, blind windows and the like. Here, at the suggestion of the intriguers, who have the run of the place and know to what uses the trick room can be put, _Lerchenan_ has made his rendezvous for the evening with the pretty chambermaid. _Octavian_, in his girl's clothes, is early at the place.

Between the _Baron_ and the disguised _Octavian_, as soon as they are alone, a rude scene of courtship develops. _Octavian_ is able to hold him off skilfully, and gradually there is unfolded the mad web of intrigue in which the _Baron_ is caught. Strange figures appear at the windows. _Lerchenan_, ignorant, superstitious, thinks he sees ghosts. Suddenly what was supposed to be a blind window, bursts open, and a woman dressed in mourning rushes in. It is the disguised intriguante, _Annina_, who claims to be the deserted wife of _Lerchenan_. Innkeeper and servants hurry in. The clamour and confusion become more and more frantic. Finally the _Baron_ himself calls for the police, without thinking what a "give away" it may be for himself. When the Commissary of Police arrives, to save his face, he gives out that his companion, the supposed chambermaid, is his affianced, _Sophie von Faninal_. That, however, only adds to the confusion, for _Octavian's_ accomplices have sought out _Faninal_ and invited him on behalf of the _Baron_ to come to the inn. In his amazement the _Baron_ knows of no other way out of the dilemma save to act as if he did not know _Faninal_ at all, whereupon the latter, naturally, is greatly angered. When the confusion is at its height the _Princess_ suddenly appears. A lackey of the _Baron_, seeing his master in such difficulties, has run to her to ask for her powerful protection. She quickly takes in the whole situation; and however bitterly _Octavian's_ disaffection grieves her, she is a clever enough woman of the world to recognize that the time for her to give him up has come. The threads now quickly disentangle themselves. The _Baron_ leaves, _Octavian_ and _Sophie_ are forgiven, and _Herr von Faninal_ feels himself fully compensated for all he has been through, because he is to be driven home beside the _Princess_ in her carriage.

ARIADNE AUF NAXOS

ARIADNE ON NAXOS

Opera in one act; by Richard Strauss; words by Hugo von Hofmannsthal. To follow Molière's Comedy, "Le Bourgeois Gentilhomme."

CHARACTERS

ARIADNE _Soprano_ BACCHUS _Tenor_ NAIAD _Soprano_ DRYAD _Alto_ ECHO _Soprano_ ZERBINETTA _Soprano_ ARLECCHINO } Characters in _Baritone_ SCARAMUCCIO } old Italian _Tenor_ TRUFFALDIN } comedy _Bass_ BRIGHELLA _Tenor_

_Time_--Antiquity.

_Place_--The Island of Naxos.

NOTE: On the stage there are present, as spectators of the opera, _Jourdain_, _Marquise Dorimène_ and _Count Dorantes_, characters from "Le Bourgeois Gentilhomme."

The peculiar relationship of this opera to Molière's comedy is easily explained, although the scheme is a curious one. In "Le Bourgeois Gentilhomme," Molière has _Jourdain_, the commoner, who in his folly strives to imitate the nobility, engage an entire ballet troupe for a private performance at his house. The opera, "Ariadne auf Naxos," is supposed to take the place of this ballet. Besides the opera, Richard Strauss has composed eleven incidental musical members for the two acts of the comedy, to which the opera is added as an independent third act.

Into the representation there enters another factor, which is liable to cause confusion, unless it is understood by the spectator. Besides the opera, _Jourdain_ has engaged a troupe of buffoons to give a performance of the old Italian Harlequin (Arlecchino) comedy. Having paid for both, he insists that both shall take place, with the result that, while the opera is in progress, the comedians dash on the stage, go through their act, and dash off again.

The adapter of Molière's work to Strauss's purpose has omitted the entire passage of the love scene between _Cléonte_ and _Lucille_, _Jourdain's_ daughter, so that the two acts of the comedy concern themselves mainly with _Jourdain's_ folly--his scenes with the music teacher, the dancing master, the fencing master, the philosopher, and the tailor. They also show how the intriguing _Count Dorantes_ makes use of _Jourdain's_ stupidity, borrowing a large sum of money from him, and persuading him that he can win the favour of the _Marquise_ with costly presents and by arranging in her honour the fête at which the opera is given. At the same time the sly _Dorantes_ represents everything to the _Marquise_ as if he himself had contrived and paid for the gifts and the fête in her honour. The _Marquise_ goes to _Jourdain's_ house to the banquet and celebration, as a climax to which the opera "Ariadne auf Naxos" is presented. The opera therefore follows the adaptation of "Le Bourgeois Gentilhomme."

On a desert island lies _Ariadne_ asleep before a cave. _Naiad_, _Echo_ and _Dryad_ are singing. _Ariadne_, on awaking, bewails the lot of the forsaken one. In her grief she feels herself near death. Then the old comedy figures come whirling in. In her desire for death _Ariadne_ does not notice them. _Zerbinetta_ sings and dances with her four _Harlequins_. This is their idea of life--to enjoy things lightly. When they have disappeared, _Naiad_, _Dryad_, and _Echo_ come back and announce the arrival of a youthful god. _Bacchus_ approaches the island. From afar he sings. _Ariadne_ hopes it is Death coming to release her. She longs for him, sinks into his arms. They are the arms of love.

DIE VERKAUFTE BRAUT

THE BARTERED BRIDE

Opera in three acts; music by Friedrich Smetana, Czech, text by R. Sabina. Produced in Czech, May 30, 1866, at Prague; in German, April 2, 1893, in Vienna.

CHARACTERS

KRUSCHINA, a peasant _Baritone_ KATRINKA, his wife _Soprano_ MARIE, their daughter _Soprano_ MICHA, a landlord _Bass_ AGNES, his wife _Mezzo-Soprano_ WENZEL, their son _Tenor_ HANS, MICHA'S son by a first marriage _Tenor_ KEZAL, a marriage broker _Bass_ SPRINGER, manager of a troop of artists _Tenor_ ESMERALDA, a danseuse _Soprano_ MUFF, a comedian _Tenor_

## Act I. It is the anniversary of the consecration of the village

church. _Marie_, daughter of the rich peasant _Kruschina_, is not happy for she must today accept a suitor picked out for her by her parents and she only loves _Hans_ although she does not know his antecedents. _Hans_ consoles her. He will always be true to her and he comes from a good family, only a wicked stepmother has robbed him of his father's love. So she must be of good cheer. Then _Marie's_ parents arrive with the marriage broker, _Kezal_. The latter wants to complete arrangements for the marriage of _Marie_ and _Wenzel_, the rich son of the peasant _Micha_. When _Marie's_ father has given his consent to this union, the go-between considers _Marie's_ opposition as a trifle which, he tells _Micha_ outside in the inn, can be easily remedied.

## Act II. But with what eyes has _Kezal_ looked upon _Wenzel_ that he

praises his excellences so loudly? At any rate not with those of a young woman. Can _Kruschina's Marie_ love this stutterer and coxcomb? Never! Fortunately for her, he does not know her; and so the clever girl is able to deceive him. She speaks disparagingly to him of _Kruschina's Marie_ who loves another and whom therefore he should not allow himself to marry. The puzzled _Wenzel_, enamoured, runs after the laughing girl. On this _Hans_ comes in with _Kezal_. The latter is telling his companion to give up his love affair. He offers him first a hundred and finally three hundred florins if he will do so. At last _Hans_ consents but only on condition that _Marie_ shall marry none other than the son of _Micha's_ wife. _Kezal_ is content with that as he understands it. He goes away to get witnesses and everybody is provoked at the light heart with which _Hans_ has sold his bride.

## Act III. In the meantime, _Wenzel_ has fallen in love with _Esmeralda_

the danseuse in a troop of acrobats. In his infatuation he allows himself to be induced to act in place of a drunken comedian. His parents and _Kezal_ surprise him while practising his dance. They are very much astonished when he absolutely refuses to marry _Kruschina's Marie_. But the matter would have been entirely different had he recognized her to be the lovely maiden of earlier in the day. _Marie_ herself, out of revolt and grief at the fact that her lover has so lightly prized her heart, is ready for everything. Then _Hans_ rushes in, freely expressing his supercilious feelings. All stand astounded until _Micha_ recognizes in _Hans_ his own long missing son by his first marriage. That _Hans_ now signs the contract as the happy husband of _Marie_ is the joyful end of this merry opera.

Russian Opera

Too little is known of Russian opera in this country. It is true that Tschaikowsky's "Pique-Dame," Rubinstein's "Nero," Moussorgsky's "Boris Godounoff," Borodin's "Prince Igor," Rimsky-Korsakoff's fascinating "Coq d'Or" have been performed here; while one act of Serge Rachmaninoff's "Miser Knight" was given by Henry Russell at the Boston Opera House with that excellent artist George Baklanoff in the title rôle. But according to Mr. Rachmaninoff thirteen operas of Rimsky-Korsakoff still await an American production and this represents the work of only one composer. Who will undertake the further education of the American public in this respect?

RUSSLAN AND LUDMILLA

Michael Ivanovich Glinka's second opera is based upon one of Pushkin's earliest poems. The poet had hardly agreed to prepare a dramatic version of his fairy tale for the composer when he was killed in a duel incurred owing to the supposed infidelity of his wife. As a result of his untimely end, Glinka employed the services of no less than five different librettists. This, of course, weakened the story.

The opera opens with an entertainment held by the Grand Duke of Kieff in honour of his daughter _Ludmilla's_ suitors. Of the three, _Russlan_, a knight, _Ratmir_, an Oriental poet, and _Farlaf_, a blustering coward. _Russlan_ is the favoured one. A thunderclap followed by sudden darkness interrupts the festivities. When this is over, _Ludmilla_ has disappeared. Her father, _Svietosar_, promises her hand in marriage to anyone who will rescue her.

The second act takes place in the cave of _Finn_, the wizard, to whom _Russlan_ has come for advice. The knight hears that the abduction is the work of _Tchernomor_ the dwarf. _Finn_ warns him against the interference of _Naina_, a wicked fairy. He then starts out on his search. The next scene shows _Farlaf_ in consultation with _Naina_. The fairy advises him to neglect _Ludmilla_ until she is found by _Russlan_, then to carry her off again. The next scene shows _Russlan_ on a battlefield. In spite of the mist he finds a lance and shield. When the atmosphere grows clearer he discovers a gigantic head, which by its terrific breathing creates a storm. _Russlan_ subdues the head with a stroke of his lance. Under it is the magic sword which will make him victorious over _Tchernomor_. The head then explains that its condition is due to its brother, the dwarf, and reveals to _Russlan_ the means to be made of the sword.

In the third act, at the enchanted palace of _Naina_, _Gorislava_, who loves _Ratmir_ appears. When the object of her passion appears he slights her for a siren of _Naina's_ court. _Russlan_, too, is imperilled by the sirens, but he is saved from their fascination by _Finn_.

The fourth act takes place in the dwelling of _Tchernomor_. _Ludmilla_, in despair, refuses to be consoled by any distraction. She finally falls asleep, only to be awakened by _Tchernomor_ and his train. The arrival of _Russlan_ interrupts the ensuing ballet. Forcing _Ludmilla_ into a trance, _Tchernomor_ meets _Russlan_ in single combat. The knight is victorious, but unable to awaken _Ludmilla_ from her sleep. He carries her off.

In the fifth act, _Russlan_ with a magic ring, the gift of _Finn_, breaks _Tchernomor's_ spell and restores _Ludmilla_ to consciousness.

PRINCE IGOR

Opera in four acts and a prologue by Borodin. Libretto suggested by Stassoff, written by the composer.

The prologue takes place in the market-place of Poultivle where _Igor_, Prince of Seversk lives. Although implored to postpone his departure because of an eclipse of the sun, which his people regard as an evil omen, _Igor_ with his son _Vladimir Igoreivitch_ departs to pursue the Polovtsy, an Oriental tribe, driven to the plains of the Don by _Prince Sviatoslav_ of Kiev. _Prince Galitzky_, _Igor's_ brother, remains to govern Poultivle and watch over the _Princess Yaroslavna_. The first scene of the first act shows _Galitzky_ a traitor, endeavouring to win the populace to his side with the help of _Eroshka_ and _Skoula_, two deserters from _Igor's_ army. In the second scene of this act young girls complain to _Yaroslavna_ about the abduction of one of their companions. They ask her protection against _Galitzky_. _Yaroslavna_ has a scene with her brother and orders him from her presence. News is brought that _Igor's_ army has been defeated, that he and the young prince are prisoners, and that the enemy is marching upon Poultivle. The loyal Boyards swear to defend their princess.

The second and third acts take place in the camp of the Polovtsy. Young _Vladimir_ has fallen in love with _Khan Konchak's_ beautiful daughter, _Konchakovna_. He serenades her in her tent. His father laments his captivity. _Ovlour_, a soldier of the enemy, offers to help him escape, but _Igor_ refuses to repay the _Khan's_ chivalrous conduct in that manner. In the second act the _Khan_ gives a banquet in honour of his captive. Oriental dances and choruses are introduced.

[Illustration: Photo by Mishkin

Scene from the Ballet in "Prince Igor" (with Rosina Galli)]

In the third act the victorious Polovstians return with prisoners from Poultivle. _Igor_ consents to escape. _Konchakovna_ learns of the secret preparations for flight which _Ovlour_ arranges by giving the army a liberal allowance of wine. After a wild orgy the soldiers fall asleep. When _Igor_ gives the signal for flight, _Konchakovna_ throws herself upon young _Vladimir_ and holds him until his father has disappeared. The soldiers rush to kill him as in revenge for _Igor's_ escape, but the _Khan_ is content to let him remain as his daughter's husband.

In the last act the lamenting _Yaroslavna_ is cheered by the return of her husband, and together they enter the Kremlin at Poultivle.

Borodin, who divided his life between science and music, wrote his opera piece by piece. Rimsky-Korsakoff wrote that he often found him working in his laboratory that communicated directly with his house. "When he was seated before his retorts, which were filled with colourless gases of some kind, forcing them by means of tubes from one vessel to another, I used to tell him that he was spending his time in pouring water into a sieve. As soon as he was free he would take me to his living-rooms and there we occupied ourselves with music and conversation, in the midst of which Borodin would rush off to the laboratory to make sure that nothing was burning or boiling over, making the corridor ring as he went with some extraordinary passage of ninths or seconds. Then back again for more music and talk."

Borodin, himself, wrote: "In winter I can only compose when I am too unwell to give my lectures. So my friends, reversing the usual custom, never say to me, 'I hope you are well' but 'I do hope you are ill.' At Christmas I had influenza, so I stayed at home and wrote the Thanksgiving Chorus in the last act of 'Igor.'"

He never finished his opera. It was completed by Rimsky-Korsakoff and his pupil Glazounoff, and three years after his death received its first performance. Borodin never wrote down the overture, but Glazounoff heard him play it so frequently that it was an easy matter for him to orchestrate it according to Borodin's wishes. The composer left this note about his opera: "It is curious to see how all the members of our set agree in praise of my work. While controversy rages amongst us on every other subject, all, so far, are pleased with 'Igor.' Moussorgsky, the ultra-realist, the innovating lyrico-dramatist, Cui, our master, Balakireff, so severe as regards form and tradition, Vladimir Stassoff himself, our valiant champion of everything that bears the stamp of novelty or greatness."

BORIS GODOUNOFF

Opera in four acts and eight scenes; libretto taken from the dramatic scenes of Pushkin which bear this title; music by Moussorgsky; produced at the theatre Marie in Petrograd in 1874.

CHARACTERS

BORIS GODOUNOFF _Baritone_ FEODOR _Mezzo-Soprano_ XENIA _Soprano_ THE OLD NURSE _Contralto_ PRINCE SHOUISKY _Tenor_ ANDREY STCHELAKOV, clerk of the Douma _Baritone_ PIMEN, monk and chronicler _Bass_ THE PRETENDER DIMITRI, called _Gregory_ _Tenor_ MARINA _Soprano_ RANGONI, a Jesuit in disguise _Bass_ VARLAAM _Bass_ MISSAIL _Tenor_ THE HOSTESS _Mezzo-Soprano_ NIKITIN (_Michael_), constable _Bass_

_Time_--1598-1605.

_Place_--Russia.

[Illustration: Photo by White

Anna Case as Feodor, Didur as Boris, and Sparkes as Xenia, in "Boris Godounoff"]

The subject brings to the stage one of the most curious episodes of the history of Russia in the seventeenth century. A privy councillor of the _Czar Feodor_, son of Ivan, named _Boris Godounoff_, has caused to be assassinated the young _Dimitri_, brother of the emperor and his only heir. On the death of _Feodor_, _Boris_, who has committed his crime with the sole object of seizing power, causes himself to be acclaimed by the people and ascends the throne. But about the same time, a young monk named Grischka escapes from his convent, discards his habit, and goes to Poland where he passes as the dead czarevitch _Dimitri_. The Polish government receives him all the more cordially as it understands all the advantage such an event might afford it. Soon the pretended _Dimitri_, who has married the daughter of one of the most powerful magnates, puts himself at the head of the Polish army and marches with it against Russia. Just at this moment they hear of the death of _Boris_, and the false _Dimitri_, taking advantage of the circumstances, in turn usurps power which he is destined not to keep very long.

Such is the poetical drama, the arrangement of which is a little inconsistent from the scenic point of view, and which a historian of Russian music, himself a musician, M. César Cui, treats in these words: "There is no question here of a subject of which the different parts, combined in such a way as to present a necessary sequence of events, one flowing from the other, correspond in their totality to the ideas of a strict dramatic unity. Each scene in it is independent; the rôles, for the greater part, are transitory. The episodes that we see follow each other necessarily have a certain connection; they all relate more or less to a general fact, to a common action; but the opera would not suffer from a rearrangement of the scenes nor even from a substitution of certain secondary episodes by others. This depends on the fact that 'Boris Godounoff' properly speaking is neither a drama nor an opera, but rather a musical chronicle after the manner of the historical dramas of Shakespeare. Each of the acts, taken separately, awakens a real interest which, however, is not caused by what goes before and which stops brusquely without connection with the scene which is going to follow." Let us add that some of these scenes are written entirely in prose while others are in verse and we will have a general idea of the make-up of the libretto of "Boris Godounoff," which moreover offered the composer a series of scenes very favourable to music.

The score of Moussorgsky is uneven, like his talents, but nevertheless remains very interesting and indicative of a distinct personality. Although the composer was not much of a symphonist and rather indifferently understood how to manage the resources of the orchestra, although his harmony is sometimes strange and rude and his modulation incorrect and excessive, he had at least a lavishness of inspiration, the abundance and zest of which are calculated to cause astonishment. He is a musician perhaps of more instinct than of knowledge, who goes straight ahead without bothering himself about obstacles and who sometimes trips while on his way but who nevertheless reaches his object, sometimes even going beyond it by his strength of audacity.

Not much of a symphonist, as I have said, Moussorgsky did not even take the trouble to write an overture and some entr'actes. But certain pages of his score are not the less remarkable for their accent, their colour, and their scenic effect, and especially for the national feeling which from a musical point of view flows from them. Under this head we would point out in the first act the great military scene, which is of superb brilliance, and the chorus of begging monks; in the second, the entire scene of the inn, in which the dramatic intensity does not lessen for a second and which presents an astonishing variety of rhythm and colour; then, in the third, the chorus of female attendants, sung on a Cracovian woman's air, the song of _Marina_ in the style of a mazurka, and a great Polish dance full of go and warmth; finally the whole episode of the death of _Boris_, which has a really gripping effect. These are enough, in spite of the inequalities and defects of the work, to cause regret for the death of an artist endowed with a very individual style, whose instruction had been doubtless incomplete, but who nevertheless seemed called to have a brilliant future.

EUGEN ONEGIN

Opera in three acts; music by Peter Ilitsch Tschaikowsky; text after Pushkin's tale by Modeste Tschaikowsky, the composer's brother; German text by von A. Bernhard. Produced at Moscow, March, 1879.

CHARACTERS

LARINA, who owns an estate _Mezzo-Soprano_ TATIANA } her daughters { _Soprano_ OLGA } { _Alto_ FILIPIEVNA, a waitress _Mezzo-Soprano_ EUGEN ONEGIN _Baritone_ LENSKI _Tenor_ PRINCE GREMIN _Baritone_ A CAPTAIN _Bass_ SARETSKY _Bass_ TRIQUET, a Frenchman _Tenor_

As the characterization of the opera as "lyrical scenes" shows, the poet offers no substantial work, but follows closely, often even word for word, Pushkin's epic tale, with which one must be fully acquainted--as is the case with everybody in Russia--in order to be able to follow the opera properly.

## Act I. _Eugen Onegin_ has been called from a wild life of pleasure to

his sick uncle, of whose property he takes possession after the uncle's sudden death. He has brought with him from the big city a profound satiety of all enjoyments and a deep contempt for the society of mankind in his solitary country seat. Here, however, he forms a friendship for a young fanatic, the poet _Lenski_. Through him he is introduced to _Larina_, a woman who owns an estate. Her two daughters, _Olga_ and _Tatiana_, correspond to the double nature of their mother, whose youth was a period of sentimentality in which she allowed herself to be affected like others by Richardson's novels, raved over Grandison, and followed the wild adventures of Lovelace with anxious thrills. Life later had made her rational, altogether too rational and insipid. _Olga_ now has become a cheerful, superficial, pleasureful silly young girl; _Tatiana_, a dreamer whose melancholy is increasing through reading books which her mother had once used. _Lenski_ is betrothed to _Olga_. _Tatiana_ recognizes at her first sight of _Onegin_ the realization of her dreams. Her heart goes out to meet him and in her enthusiasm she reveals all her feelings in a letter to him. _Onegin_ is deeply stirred by this love; a feeling of confidence in mankind that he had not known for such a long time awakens in him. But he knows himself too well. He knows that every faculty as a husband is departing from him. And now he considers it his duty not to disappoint this maiden soul, to be frank. He refuses her love. He takes the blame on himself, but he would not have been the worldly wise man if his superiority to the simple country child had not been emphasized chiefly on this account. But _Tatiana_ only listens to the refusal; she is very unhappy. _Onegin_ remains her ideal, who now will be still more solitary, in spite of it.

## Act II. _Tatiana's_ name-day is being celebrated with a big ball.

_Onegin_ goes there on _Lenski's_ invitation. The stupid company with their narrow views about him vex him so much that he seeks to revenge himself on _Lenski_ for it, for which he begins courting _Olga_. _Lenski_ takes the jest in earnest; it comes to a quarrel between the friends. _Lenski_ rushes out and sends _Onegin_ a challenge. Social considerations force _Onegin_ to accept the challenge; a duelling fanatic landlord, _Saretsky_ stirs _Lenski's_ anger so severely that a reconciliation is not possible. This part in Pushkin's work is the keenest satire, an extraordinarily efficacious mockery of the whole subject of duelling. There is derision on _Onegin's_ side, too, for he chooses as his second his coachman Gillot. But the duel was terribly in earnest; _Lenski_ falls shot through by his opponent's bullet. (This scene recalls a sad experience of the poet himself; for he himself fell in a duel by the bullet of a supercilious courtier, Georg d'Anthès-Heckeren, who died in Alsace in 1895.)

## Act III. Twenty-six years later. _Onegin_ has restlessly wandered over

the world. Now he is in St. Petersburg at a ball given by _Prince Gremin_. There, if he sees aright, Princess Gremina, that accomplished woman of the world is "his" _Tatiana_. Now his passion is aroused in all its strength. He must win her. _Tatiana_ does not love him with the same ardour as before. When she upbraids _Onegin_ that he loves her only because she has now become a brilliant woman of the world it is only a means of deceiving herself and her impetuous adorer as to her real feelings. But finally her true feeling is revealed. She tells _Onegin_ that she loves him as before. But at the same time she explains that she will remain true to her duty as a wife. Broken-hearted _Onegin_ leaves her.

PIQUE-DAME

THE QUEEN OF SPADES

The libretto of Tschaikowsky's "Pique-Dame" was first prepared by the composer's brother Modeste for a musician who later refused to use it. Tschaikowsky wrote it in six weeks, during a stay in Florence. The libretto is that of the well-known story by Pushkin. _Herman_, the hero, a passionate gambler, loves _Lisa_, whom he met while walking in the summer garden in St. Petersburg. He learns that she is the granddaughter of "the belle of St. Petersburg," famous in her old age as the luckiest of card players. So strange is the old lady's appearance that she has been named "The Queen of Spades." The two women exert conflicting influences over _Herman_. He loves _Lisa_, while the old woman awakens his gambling impulses. It is said that the old _Countess's_ success at the card table is based upon her secret knowledge of a combination of three cards. _Herman_ is bent upon learning the secret. Although _Lisa_ loves _Herman_ she engages herself to _Prince Yeletsky_. With the hope of forcing the old woman to reveal her secret, he hides in her bedroom one night. When she sees him the shock kills her, and _Herman_ learns nothing. Half-crazed with remorse _Herman_ is haunted by the old _Countess's_ ghost. The apparition shows him the three cards.

When he goes to her house the night after her funeral and plays against _Prince Yeletsky_, he wins twice by the cards shown him by the ghost. He stakes everything he possesses on the third card but he turns up, not the expected card, but the queen of spades herself. At the same instant he sees a vision of the _Countess_, triumphant and smiling. Desperate, _Herman_ ends his life.

Tschaikowsky enjoyed his work on this opera. He wrote as follows to the Grand Duke Constantine: "I composed this opera with extraordinary joy and fervour, and experienced so vividly in myself all that happens in the tale, that at one time I was actually afraid of the spectre of the Queen of Spades. I can only hope that all my creative fervour, my agitation, and my enthusiasm will find an echo in the heart of my audiences." First performed at St. Petersburg in 1890, this opera soon rivalled "Eugen Onegin" in popularity.

LE COQ D'OR

THE GOLDEN COCK

Opera pantomime in three acts with prologue and epilogue. Produced in May, 1910, at Zimin's Private Theatre, Moscow. Music by Rimsky-Korsakoff.

CHARACTERS

KING DODON _Baritone_ PRINCE GUIDON _Tenor_ PRINCE AFRON _Baritone_ VOEVODA POLKAN (the General) _Baritone_ AMELFA (the royal housekeeper) _Contralto_ THE ASTROLOGER _Tenor_ THE QUEEN OF SHEMAKHAN _Soprano_ THE GOLDEN COCK _Soprano_

"Le Coq D'Or" was Rimsky-Korsakoff's last opera. The censor refused to sanction its performance during the composer's lifetime and his difficulties with the authorities in this matter are supposed to have hastened his death. When the work was given in Petrograd it was thought to be over-taxing for the singers who are obliged to dance, or for the dancers who are obliged to sing. M. Fokine ingeniously devised the plan of having all the singers seated at each side of the stage, while the dancers interpreted, in pantomime, what was sung. In spite of the protests made by the composer's family, this was done in Paris, London, and New York.

The opera is composed to a libretto, by V. Bielsky, based upon a well-known poem by Pushkin. In a preface to the book the author says: "The purely human nature of Pushkin's 'Golden Cock'--that instructive tragicomedy of the unhappy consequences following upon mortal passions and weaknesses--permits us to place the plot in any region and in any period."

_King Dodon_, lazy and gluttonous, is oppressed by the cares of state. Warlike neighbours harass him with their attacks. Holding council in the hall of his palace with his Boyards, he asks the advice first of one son, then the other. But the wise old _General_ disagrees with the solutions suggested by the young princes. Soon the entire assembly is in an uproar. The astrologer then appears and offers the _King_ a golden cock. The bird has the power to foretell events, and in case of danger will give warning. The _King_ is overjoyed. From a spire in the capital the bird sends out various messages. At its bidding citizens now rush for their weapons, now continue peaceful occupations. _Dodon's_ bed is brought upon the stage, and the monarch relieved of all responsibility goes to sleep, after having been tucked in by the royal housekeeper. Suddenly the cock sounds the war alarm. The rudely awakened sovereign first sends his sons, then goes himself. _Dodon's_ army fares ill. In the second act, the moonlight in a narrow pass reveals the bodies of his two sons. At dawn, _Dodon_ notices a tent under the hillside. The _King_ thinks it is the tent of the enemy leader, but to his astonishment, a beautiful woman emerges. The lovely _Queen_ lures on the aged _Dodon_, mocks at his voice, and forces him to dance, until he falls exhausted to the ground. Finally she agrees to become his bride.

The third act shows the populace preparing to welcome _Dodon_, There is a wonderful procession led by _Dodon_ and the _Queen_, followed by a grotesque train of giants and dwarfs. Soon the _Queen_ is bored. The astrologer returns, claiming a reward for his magic bird. He demands the _Queen_. _Dodon_ kills the astrologer by a blow on the head with his sceptre, but this does not improve his position with his bride. With an ominous cry, the bird flies towards the _King_ and fells him with one blow from his beak. A thunderclap is followed by darkness. When light returns both _Queen_ and cock have disappeared. The people lament the death of the _King_. In the epilogue the resuscitated astrologer announces that the story is only a fairy tale and that in _Dodon's_ kingdom only the _Queen_ and himself are mortals.

MANRU

Opera in three acts. Music by Ignace Jan Paderewski. Book by Alfred Nossig. The first performance in New York was on February 14, 1902, at the Metropolitan Opera House. Mr. Damrosch conducted. The cast included Mme. Sembrich, Mme. Homer, Miss Fritzi Scheff, Alexander van Bandrowski, Mr. Mühlmann, Mr. Blass, Mr. Bispham.

The opera had its first performance on any stage at the Court Theatre, Dresden, May 29, 1901. Before being sung in New York it was heard in Cracow, Lemberg, Zurich, and Cologne.

The scene is laid among the Tatra mountains, between Galicia and Hungary. The story illustrates the gypsy's wanderlust. The plot is borrowed from a Polish romance. _Manru_ has won the love of a Galician girl, _Ulana_, and married her gypsy fashion. After a time she returns to her native village among the Tatra mountains, seeking her mother's help and forgiveness. But her mother curses her, and she is the object of the villagers' scorn. They taunt her with a song which celebrates the inconstancy of all gypsies under the spell of the full moon. As she has already noticed signs of uneasiness in her husband, _Ulana_ seeks the help of _Urok_, a dwarf, who loves her and who is said to be a sorcerer. He gives her a magic draught by means of which she wins back _Manru_ for a time. Alone in the mountains, however, the influence of the moon, the charm of gypsy music, and the fascinations of a gypsy girl are too strong for him. He rejoins his companions. _Oros_, the gypsy chief, himself in love with the maiden of _Manru's_ fancy, opposes her reinstatement in the band. But through the influence of _Jagu_, a gypsy fiddler, his wishes are overruled and _Manru_ is made chief in _Oros's_ place. The deposed chief revenges himself by hurling his successful rival down a precipice, a second after the distraught _Ulana_ has thrown herself into a mountain lake.

American Opera

No really distinguished achievement has as yet been reached in the world of American opera. Various reasons are given for the delinquency. Some say that American composers are without that sense of the theatre so apparent in the composers of the modern Italian school. But whatever the reasons, the fact remains inalterably true.

The Metropolitan has housed several worthy efforts. Two of the most successful were Mr. Parker's "Mona" and Mr. Damrosch's "Cyrano de Bergerac." After much fulsome praise had been bestowed upon both, however, these operas were promptly shelved. Others have taken their place. But the writer of a truly great American opera has yet to make his appearance.

THE SACRIFICE

Opera in three acts by Frederick Shepherd Converse.

Mr. Converse wrote his own libretto. The lyrics are by John Macy. The story takes place in southern California in 1846. Americans are guarding the Anaya mansion, and the American officer, _Burton_, a baritone, is in love with _Chonita_, the beauty of the household. _Chonita_ has an old Indian servant, _Tomasa_, who hates the Americans, yet seems to realize that they will conquer. _Chonita_, praying in the Mission Church desecrated by the invaders, is told by _Burton_ that he has killed a Mexican. Her questions reveal that _Bernal_ is the dead man. But _Bernal_ is wounded, not dead, and he comes into the church. _Burton_ again assures _Chonita_ of his love and promises to do for her all that a man can do. "You wretched devil, 'tis I she loves," cries _Bernal_, and he rushes at _Burton_ with a dagger. _Chonita_ throws herself between the two, and is accidentally wounded by the American's sword. _Bernal_ is held a prisoner.

In the third act, _Chonita_ is in bed apparently dying. If she could only have her lover she would live, she sings; despair is killing her. _Padre Gabriel_ brings her consolation, and sets a trap for the Americans. _Burton_ brings _Bernal_ that he may sing a love duet with _Chonita_. She pleads for _Bernal's_ freedom. "He is not a spy." _Burton_ stands between love and duty. To give _Chonita_ happiness he is willing to die. The Americans are suddenly attacked and _Burton_, throwing down his sword, is killed by Mexican rescuers. _Tomasa_ looks at _Burton's_ corpse and sums up the whole tragedy: "'Tis true as ever. Love brings life and death."

THE PIPE OF DESIRE

Opera in one act by Frederick Shepherd Converse. Poem by George Edwards Barton.

The scene takes place in a wood during the first day of spring. Elves flit to and fro performing sundry occupations. One scatters seeds to the winds. Others remove dead leaves from flowers. They sing of the awakening of Nature from her sleep through the winter. _Iolan_, a peasant, is heard singing in the distance. The elves although reproached by the _Old One_ desire to show themselves to him. _Iolan_ tells them that he is to wed _Naoia_ tomorrow, and bids them come to the wedding. The _Old One_ reminds them that it is forbidden to show themselves to man, and adds that no good can come of it. _Iolan_ laughs at the _Old One_ and his Pipe. The _Old One_ plays for the elves to dance, but with misgivings. _Iolan_ still defies the power of the Pipe. The elves demand that the _Old One_ make him dance and respect its power. When he cannot resist the music, he snatches the Pipe and breaks the cord which holds it. The _Old One_ tells him that it is the Pipe God gave to Lilith, who played it to Adam in Eden, and that the mortal who now plays the Pipe without understanding its secret will die when it becomes known to him. _Iolan_, however, puts the Pipe to his lips. At first only discordant sound, later beautiful music is his reward. _Iolan_ sees a vision of what he most desires. He is rich. He owns horses, goats, and wine. _Naoia_, his wife, comes to him through roses. His children play about the door of their home. He calls on _Naoia_ to come to him. She comes to him, bleeding. Because he played the Pipe misfortune has come to her. She dies and _Iolan_ soon follows her, while the sorrowing elves proclaim that they who die for love have accomplished their life.

SHANEWIS, OR THE ROBIN WOMAN

An American opera in two parts; book by Nelle Richmond Eberhardt; music by Charles Wakefield Cadman. Produced at the Metropolitan Opera House, March 23, 1918, with the following cast:

SHANEWIS _Sophie Braslau_ MRS. EVERTON _Kathleen Howard_ AMY EVERTON _Marie Sundelius_ LIONEL _Paul Althouse_ PHILIP _Thomas Chalmers_

An Indian girl, whose voice has been elaborately cultivated, falls in love with the son of her benefactress. The young man is already betrothed to _Mrs. Everton's_ daughter. An Indian suitor offers _Shanewis_ a bow and poisoned arrow which she rejects. When he discovers that his rival has left _Shanewis_ in ignorance of his previous betrothal he shoots the gay deceiver, and finishes both the youth and the opera.

THE TEMPLE DANCER

Opera in one act in English by John Adam Hugo. Libretto by Jutta Bell-Ranske. Performed for the first time on any stage at the Metropolitan Opera House, March 12, 1919, with Florence Easton, Morgan Kingston, and Carl Schlegel.

CHARACTERS

TEMPLE DANCER _Soprano_ GUARD _Tenor_ YOGA _Bass_

The leading dancer of the Temple of Mahadeo has fallen in love with a youth who is not of her faith. Through her lover's suffering she realizes the unjust and immoral demands made upon the temple dancers whose beauty is sold to passers-by in order that jewels may be bought for Mahadeo. The opera opens with a ceremony in the temple. The great Mahadeo sits blazing in jewels. _The Dancer_ enters. She has decided to take the jewels for her lover, who is in want. She considers that the jewels bought with the price of her beauty are hers, by right. She pleads for a sign from the god, but as her prayer remains unanswered she threatens the temple. The returning temple guard, hearing her imprecations, threatens her with death. To protect herself, she takes the snake from Mahadeo and winds it around her. She begs to be permitted to pray before being slain, and in a seductive dance, that interprets her prayer, fascinates the guard. He promises her his protection and she pretends to return his passion. In a love scene he loosens the bands of her outer robe, which falls off. A letter to her lover tells of her plan to meet him with the stolen jewels. The guard, enraged, prepares to torture her. But she dances again, and as a last prayer begs for a drop of water. When the guard brings her the water she poisons it and persuades him to drink to her courage in facing death. He drinks and dies cursing her, her laughter, and her mocking dance. As he dies the dancer calls down curses upon the temple. A thunderstorm is the answer. Lightning shatters the walls and as the dancer puts out her hand to take the jewels of the god it strikes her and she falls dead beside the guard. The priests, returning, see the bodies of guard and dancer and call upon the gods for protection. The opera closes with the singing of the hymn of redemption, which implores forgiveness for the erring spirits of the dead.

THE LEGEND

A lyric tragedy in one act in English by Joseph Breil, with a libretto by Jacques Byrne. Produced for the first time on any stage at the Metropolitan Opera House, March 12, 1919, with Rosa Ponselle, Kathleen Howard, Paul Althouse, and Louis d'Angelo.

_Count Stackareff_, an impoverished nobleman, lives with his daughter, _Carmelita_, at his hunting lodge in Muscovadia, a mythical country in the Balkans. In order to make his living, he leads a double life. By day he is a courtly nobleman, and by night a bloodthirsty bandit, _Black Lorenzo_. No one but his daughter knows his secret, and she is in constant fear of his discovery for there is a price upon his head. The story opens on a stormy night. _Stackareff_ tells his daughter that he has captured a wealthy merchant, and is holding him for a large ransom. He expects the ransom to arrive by messenger at any moment. If it does not come _Stackareff_ intends to kill the prisoner. _Carmelita_ not only fears for the safety of her father, but that her lover _Stephen Pauloff_, whom she met in Vienna, will find out that she is the daughter of such a rogue, and cast her off. She prays before the statue of the Virgin that the young man will not discover her father's double life. _Marta_, an old servant, enters and tells _Carmelita_ that she has seen _Stephen_ in the woods. He has told her that he will soon come to see his sweetheart. _Carmelita_ rejoices but _Marta_ warns her of the legend that on this night the Evil One walks abroad and knocks at doors. He who opens the door dies within a year.

_Carmelita_ scoffs and asks _Marta_ to tell her fortune with the cards. The ace of spades, the death card, presents itself at every cutting. _Marta_ refuses to explain its significance and leaves her young mistress bewildered. The storm increases. There are two knocks. Thinking it is _Stephen_, _Carmelita_ opens the door. No one is there. She is terrified. Later _Stephen_ arrives. In his arms she for the moment forgets her fears, but they are soon renewed when her lover tells her that he has been sent to take the murderous bandit, _Black Lorenzo_, dead or alive. _Carmelita_ makes the young man swear before the Virgin that he will never desert her. Then she prepares to elope with him.

_Stackareff_ enters, expecting to find the messenger. He is apprehensive when he sees a soldier at his fireside. _Carmelita's_ assurance that _Stephen_ is her lover calms his fear. But _Stephen_ in answer to _Stackareff's_ questions tells him that he is after _Black Lorenzo_. Again the knocks are heard. _Stackareff_, after shouting at _Stephen_ that he is his man, escapes through the door. When the young soldier resists her prayers to desist from pursuing the murderer _Carmelita_ stabs him. Two soldiers bring in the mortally wounded body of her father. Realizing that _Carmelita_ has killed their captain they fire upon her. Their shot rings out through the music of the finale.

NATOMAH

Opera in three acts by Victor Herbert. First performance on any stage at the Metropolitan Opera House, Philadelphia, February 23, 1911, with Miss Mary Garden, Miss Lillian Grenville, Mr. Huberdeau, Mr. Dufranne, Mr. Sammarco, Mr. Preisch, Mr. Crabbe, Mr. Nicolay, Mr. McCormack.

CHARACTERS

DON FRANCISCO DE LA GUERRA, a noble Spaniard of the old régime _Bass_ FATHER PERALTA, Padre of the Mission Church _Bass_ JUAN BAPTISTA ALVARADO, a young Spaniard _Baritone_ JOSÉ CASTRO, a half-breed _Baritone_ PICO } bravos, comrades of Castro _Tenor_ KAGAMA } _Bass_ PAUL MERRILL, Lieut. on the U.S. Brig _Liberty_ _Tenor_ BARBARA DE LA GUERRA, daughter of Don Francisco _Soprano_ NATOMAH, an Indian girl _Soprano_

The time is 1820, under the Spanish régime. The scene of Act I is laid on the Island of Santa Cruz, two hours' sail from the mainland. Act II takes place in the plaza of the town of Santa Barbara on the mainland, in front of the Mission Church. Act III represents the interior of the Mission Church.

At the beginning of the opera _Don Francisco_ is awaiting the return from a convent of his only child, _Barbara_. His reverie is interrupted by the arrival of _Alvarado_ and his comrades _Castro_, _Pico_, and _Kagama_. _Alvarado_ wishes to marry his cousin _Barbara_ in order to gain possession of the estates left to her by her mother. _Castro_ is a half-breed. _Pico_ and _Kagama_ are vaqueros and hunters. All three have come to the island ostensibly for a wild-boar hunt, but _Alvarado_ has timed his arrival with the return of his cousin.

_Lieutenant Paul Merrill_, an American naval officer, and _Natomah_, a pure-blooded Indian girl, appear together at the back of the stage. His ship has dropped anchor in the Bay of Santa Barbara. _Natomah_ has never seen an American before and she is fascinated by him. She tells him of a legend of her people. She is the last of her race. During their childhood she was _Barbara's_ playmate. She tells him of the young girl's beauty, and imagining that when he sees _Barbara_ he will fall in love, the Indian girl begs him to permit her to be at least his slave. _Barbara_ and _Father Peralta_ enter. With the young girl and _Paul_ it is a case of love at first sight. When all but _Castro_ and _Natomah_ have gone into the hacienda, the half-breed urges _Natomah_ to cease spending her time with white people and to follow him, the leader of her race. _Natomah_ turns from him in disgust. When they separate, _Alvarado_ serenades _Barbara_ who appears on the porch. He has heard that she has eyes only for the American. Fearing to lose time he declares his love. But he does not advance his suit by taunting her with her infatuation for the American officer. When she leaves him he swears to have _Paul's_ life. _Castro_ suggests that it would be better to carry _Barbara_ off. _Natomah_, hidden in an arbour, overhears them discussing their plans. The next day a fiesta will be held in honour of _Barbara's_ return. When the festivity is at its height fast horses will be ready to bear the young girl away to the mountains where pursuit would be difficult.

When all the guests have departed, _Barbara_ speaks aloud in the moonlight of her love for _Paul_. He suddenly appears and they exchange vows.

The next act shows the fiesta. _Alvarado_ dances the Habanera with the dancing-girl _Chiquita_. There is formal ceremony in which the _Alcalde_ and the leading dignitaries of the town pay tribute to the young girl on her coming of age. _Alvarado_ begs the honour of dancing with his cousin. The American ship salutes and _Paul_ arrives with an escort to pay tribute to the Goddess of the Land, _Barbara_. _Alvarado_ demands that his cousin continue the dance. A number of couples join them and the dance changes into the Panuelo or handkerchief dance of declaration. Each man places his hat upon the head of his partner. Each girl retains the hat but _Barbara_ who tosses _Alvarado's_ disdainfully aside. During this time _Natomah_ has sat motionless upon the steps of the grand-stand. When _Castro_ approaches in an ugly mood, rails at the modern dances and challenges someone to dance the dagger dance with him, she draws her dagger and hurls it into the ground beside the half-breed's. The crowd is fascinated by the wild dance. Just as _Alvarado_ is about to smother _Barbara_ in the folds of his serape, _Natomah_, purposely passing him, plunges her dagger into the would-be abductor. The dance comes to a sudden stop. _Alvarado_ falls dead. _Paul_ and his escort hold the crowd at bay. _Natomah_ seeks protection in the Mission Church at the feet of _Father Peralta_.

At the opening of the third act _Natomah_ is crooning an Indian lullaby to herself in the church. She wishes to join her people, but instead _Father Peralta_ persuades her to enter the convent.

MONA

Opera in three acts. Poem by Brian Hooker. Music by Horatio Parker. The action takes place during the days of the Roman rule in Britain. First performance at the Metropolitan, March 4, 1912.

_Quintus_, son of the Roman _Governor_, by a British captive, has grown up as one of his mother's people. Known to them as _Gwynn_, he has won power and position among them as a bard. He is about to marry _Mona_, foster-child of _Enya_ and _Arth_, and last of the blood of Boadicea. But a great rebellion is stirred up in Britain by _Caradoc_, the chief bard, and _Gloom_, the Druid, foster-brother of _Mona_. By birthright and by old signs and prophecies she is proclaimed leader. The girl has been taught to hate Rome and to dream of great deeds. _Gwynn_, fearing to lose _Mona_ and his power, swears fellowship in the conspiracy. But in spite of this, for urging peace, he is cast off by _Mona_ and her followers.

The faithful lover follows her about on her mission to arouse revolt, prevents the Roman garrisons from seizing her, and secretly saves her life many times. The _Governor_, his father, blames him for this, but he replies that through _Mona_ he will yet keep the tribes from war. The _Governor_ lays all the responsibility upon his shoulders. He promises to spare the Britons if they remain passive, but swears to crush them without mercy if they attack. _Gwynn_ meets _Mona_ just before the battle and so moves her love for him that she becomes his creature from that moment. Triumphantly he begins to tell her of his plans for peace. Suddenly she seems to realize that he is a Roman, and calls the Britons to her aid. Still, she lies to save his life. The youth is made prisoner and led by _Mona_ and the bards against the Roman town.

The rebellion is crushed. _Arth_ and _Gloom_ are slain. _Gwynn_, coming upon them and _Mona_, tells her of his parentage and pleads for assistance. But having believed him a traitor, she now thinks him a liar and slays him. The _Governor_ and his soldiers take her captive. From them she learns that _Gwynn_ had spoken the truth.

CYRANO

Opera in four acts by Walter Damrosch. Book by William J. Henderson after the drama by Edmond Rostand. First performance on any stage at the Metropolitan Opera House, February 27, 1913, with Pasquale Amato as _Cyrano_, Frances Alda as _Roxane_, and Riccardo Martin as _Christian_.

CHARACTERS

CYRANO DE BERGERAC _Baritone_ ROXANE _Soprano_ DUENNA _Alto_ LISE _Soprano_ A FLOWER GIRL _Soprano_ RAGUENEAU _Tenor_ CHRISTIAN _Bass_ DE GUICHE _Bass_ LE BRET _Bass_ A TALL MUSKETEER _Tenor_ MONTFLEURY _Bass_ FIRST CAVALIER _Bass_ SECOND CAVALIER _Tenor_ THIRD CAVALIER _Bass_ A CADET _Tenor_

## Act I. Interior of the Hôtel de Bourgogne. Act II. "The Poet's Eating

House," _Ragueneau's_ cook and pastry shop. Act III. A small square in the Old Marais. Act IV, Scene 1. Entrenchment at the siege of Arras.

## Scene 2. A convent garden near the field of battle.

Rostand's play was first produced, October, 1898, by Richard Mansfield, and repeated in subsequent seasons. In 1900 it was given in French by Bernhardt and Coquelin. The libretto of the opera follows the play closely. Mr. Henderson retained and successfully remodelled the main incidents of the drama. The operatic version begins at the Hôtel de Bourgogne where "La Clorise" is to be played. _Cyrano_ orders the leading actor off the stage because he has dared to cast insolent glances at his cousin _Roxane_, whom _Cyrano_ loves but dares not woo because of the deformity of his hideous nose. _Roxane_, from a box, sees in the audience the man with whom she has fallen in love, although she has never met him. _Cyrano_ fights a duel with _De Guiche_, a married suitor of _Roxane_, and pricks him in the arm. Elated at the prospect of a meeting with his cousin arranged through her duenna, _Cyrano_ rushes off to disperse one hundred men who are waiting to kill one of his friends.

In Act II, _Cyrano_ is at _Ragueneau's_ shop waiting for his cousin. He writes an ardent love letter, intending to give it to her. His hopes are high, but they are dashed to the ground when _Roxane_ tells him of her love for _Christian_, who is to join her cousin's regiment that day. _Cyrano_ promises to watch over _Christian_. He bears his insults and agrees to woo _Roxane_ for _Christian_ by his wit and verse. He even sacrifices his own love letter.

In Act III, _Christian_ rebels at the second-hand love-making. But when _Roxane_ is disgusted with his commonplaces he is glad to turn again to _Cyrano_. Under cover of night, _Cyrano_ courts _Roxane_ beneath her balcony. She is delighted and rewards her lover with a kiss. _De Guiche_ sends a priest with a letter in which he attempts to gain an interview with her. _Roxane_ tells the priest that the letter contains an order for him to perform the marriage ceremony. While _Cyrano_ keeps _De Guiche_ outside the lovers are married. In revenge, _De Guiche_ orders the Gascon regiment of which _Cyrano_ and _Christian_ are both members to the war.

In the last act, _Roxane_ visits the entrenchment at the siege of Arras. Her carriage is driven by the faithful _Ragueneau_. _Cyrano's_ love letters, ostensibly from _Christian_, have prompted her coming. Her husband realizes that the man she really loves is _Cyrano_, although she believes it to be _Christian_. He leaves the cousins alone, urging _Cyrano_ to tell the truth. He is soon brought back, mortally wounded. _Cyrano_ assures him that he has told _Roxane_ of the deception and that _Christian_ is the man she loves.

The second scene takes place in a convent. _Cyrano_, wounded and dying, visits _Roxane_. He begs to see her husband's last letter. Forgetting himself, he recites it in the dusk. Thus he betrays his love. But when _Roxane_ realizes the truth he denies it, "dying," as he declares, "without a stain upon his soldier's snow-white plume."

THE CANTERBURY PILGRIMS

Opera in four acts by Reginald de Koven. Book by Percy Mackaye. Produced for the first time on any stage at the Metropolitan Opera House, March 8, 1917, with the following cast:

CHAUCER _Johannes Sembach_ THE WIFE OF BATH _Margaret Ober_ THE PRIORESS _Edith Mason_ THE SQUIRE _Paul Althouse_ KING RICHARD II _Albert Reiss_ JOHANNA _Marie Sundelius_ THE FRIAR _Max Bloch_ JOANNES _Pietro Audisio_ MAN OF LAW _Robert Leonhardt_ THE MILLER _Basil Ruysdael_ THE HOST _Giulio Rossi_ THE HERALD _Riccardo Tegani_ TWO GIRLS { _Marie Tiffany_ { _Minnie Egener_ THE PARDONER _Julius Bayer_ THE SUMMONER _Carl Schlegel_ THE SHIPMAN _Mario Laurenti_ THE COOK _Pompilio Malatesta_

Conductor, Bodanzky

The time is April, 1387; the place, England. _Chaucer_, first poet-laureate of England, travelling incognito with pilgrims from London to Canterbury, encounters _Alisoun_, the _Wife of Bath_, a woman of the lower middle class, buxom, canny, and full of fun, who has had five husbands, and is looking for a sixth. She promptly falls in love with _Chaucer_ who, instead of returning her sprightly attentions, conceives a high, serious, poetic affection for the _Prioress_. She is a gentlewoman, who, according to the custom of the time, is both ecclesiastical and secular, having taken no vows.

The _Wife of Bath_, however, is determined to win her man. Devising a plan for this, she wagers that she will be able to get from the _Prioress_ the brooch, bearing the inscription "Amor Vincit Omnia," that this lady wears upon her wrist. Should _Alisoun_ win, _Chaucer_ is bound by compact to marry her. After much plotting and by means of a disguise, the _Wife of Bath_ wins her bet, and _Chaucer_ ruefully contemplates the prospect of marrying her. In his plight he appeals to _King Richard II_, who announces that the _Wife of Bath_ may marry a sixth time if she chooses, but only on condition that her prospective bridegroom be a miller. A devoted miller, who has long courted her, joyfully accepts the honour, and the opera ends with a reconciliation between _Chaucer_ and the _Prioress_.

Mr. Mackaye in speaking of his libretto at the time of the production of the opera had this to say:

"In writing 'The Canterbury Pilgrims' one of my chief incentives was to portray, for a modern audience, one of the greatest poets of all times in relation to a group of his own characters. As a romancer of prolific imagination and dramatic insight, Chaucer stands shoulder to shoulder with Shakespeare. For English speech he achieved what Dante did for Italian, raising a local dialect to a world language.

"Yet the fourteenth-century speech of Chaucer is just archaic enough to make it difficult to understand in modern times. Consequently his works are little known today, except by students of English literature.

"To make it more popularly known I prepared a few years ago (with Professor J.S.P. Tatlock) 'The Modern Readers' Chaucer'; and I wrote for Mr. E.H. Sothern in 1903 my play 'The Canterbury Pilgrims,' which since then has been acted at many American universities by the Coburn Players, and in book form is used by many Chaucer classes.

"In the spring of 1914, at the suggestion of Mr. De Koven, I remodelled the play in the form of opera, condensing its plot and characters to the more simple essentials appropriate to operatic production. Thus focussed, the story depicts Chaucer--the humorous, democratic, lovable poet of Richard Second's court--placed between two contrasted feminine characters, the _Prioress_, a shy, religious-minded gentlewoman, who has retired from the world, but has as yet taken no vows; and the _Wife of Bath_, a merry, sensual, quick-witted hoyden of the lower middle class, hunting for a sixth husband. These three, with many other types of old England, are pilgrims, en route from London to the shrine of Thomas à Becket, at Canterbury.

"Becoming jealous of the _Prioress_, the _Wife of Bath_ makes a bet with _Chaucer_ concerning the gentlewoman's behaviour--a bet which she wins by a trick in the third act, only to lose it in the fourth.

"The work is a comedy in blank verse of various metres, interspersed with rhythmed lyrics. For the first time, I believe, in drama of any language, it inaugurates on the stage the character of the famous first poet-laureate of England--the 'Father of English Literature.'"

Mr. De Koven also tells how he came to compose the music:

"I have often been asked the question why I have never before now written a work in the larger operatic form, and my answer has always been that I was waiting until I could find a really good book. For an opera libretto that successfully meets the requirements of a lyric work of this class, which is primarily for and of the stage, in the way of dramatic interest, development and climax, a poetic knowledge of the possibilities and limitations of the English language when sung, and those visual and picturesque qualities in the story which alone can make the unreal conditions of opera, _per se_, either plausible or intelligible, is about as rare as the proverbial white crow--as many gifted composers have found to their cost.

"All these requirements are, I think, fulfilled in the really charming libretto which Mr. Mackaye has written in 'The Canterbury Pilgrims,' which came to me unsought as it were. As a member of a committee for choosing plays to be used in settlement work on the East Side, my wife read Mr. Mackaye's earlier play of the same name, and told me she thought it contained excellent operatic material. Agreeing with her, I went to Mr. Mackaye and suggested the idea to him. He agreed with me and soon afterwards, early in 1914, we set to work. To adapt a play of over 17,000 words for operatic purposes by merely cutting it was manifestly impossible. Entire reconstruction, both in structure and language, was necessary, and this Mr. Mackaye has so successfully accomplished that in my judgment his libretto, as an artistic whole, is far superior to his earlier play.

"I took the first act with me when I went abroad in March, 1914, and the entire opera, begun October 10, 1914, was finished on December 21, 1915, during which time I lived at Vevey, Switzerland, amid, and yet far from, wars and rumours of wars.

"As to my part of the work, the characters of Mr. Mackaye's story, whose essentially old English atmosphere appealed to me strongly from the first, naturally suggested Verdi's 'Falstaff' as a model in a sense. But Verdi abjured the leit motif or motto theme, and I had always felt that Wagner's theory, applied in some form, was the true basis of construction for all musico-dramatic work. Yet again it always seemed to me that, save in the hands of a consummate master, the leit motif, pushed to its logical development, was only too apt to become tiresome, obscure, and ineffective. So, after much consideration, I bethought me of the very way in which Massenet in 'Manon' had used a limited number of what might be called recurrent themes--such as the one for 'Des Grieux'--and made up my mind to try what could be done along these simpler and more plastic lines.

"So, without attempting to describe pictorially in music, swords, tarnhelms, or dragons, or to weave music into an intricate contrapuntal work, I have in 'The Canterbury Pilgrims,' while following closely the spirit and meaning of Mr. Mackaye's poetic text, attributed a number of saliently melodic themes to the characters, incidents, and even material objects of the story, and when these recur in or are suggested by the text the attributive themes recur with them, so that, as I hope, they may be readily recognizable by the untechnical opera-goer and aid him in following this story and

## action.

"Just a word in regard to the English language as a medium for opera and song. As Mr. Gatti says that a typical operatic audience in Italy, knowing their own language and generally familiar with both text and story of their operas, only expect to understand about half the words as sung, owing to the very conditions of opera itself, may it not be fairly said that American audiences who go to hear operas in English, expecting to understand every word, expect the impossible, and should be more reasonable in their demands?

"Again, I have always contended and maintained that the English language, properly used, is an entirely singable language, and as so far during the rehearsals of 'The Canterbury Pilgrims' none of the artists has seemed to find any great difficulty in singing in English beyond that inherent to a certain lack of familiarity with the language itself, it looks as if my contention stands at least a fair chance of being admitted."

Spanish Opera

During the winter of 1915-16 the interest in Spanish music was at its height in New York. Enrique Granados, a distinguished Spanish composer and pianist, came to the city to superintend the production of his opera, "Goyescas," sung in Spanish at the Metropolitan. Pablo Casals, the famous Spanish 'cellist, and Miguel Llobet, virtuoso of the guitar, were making frequent appearances. La Argentina was dancing, and Maria Barrientos made her début at the Metropolitan. In the season of 1917-18 the Spanish craze culminated in "The Land of Joy," a musical revue which came first to the Park Theatre, then was transferred to the Knickerbocker Theatre. The music was by Joaquin Valverde, fils, and the entertainment was an entrancing blend of colour and intoxicating rhythms, with the dancing of the passionate gipsy, Doloretes, as the most amazing and vivid feature.

GOYESCAS

The characters and setting of the opera are suggested by the work of the Spanish painter Goya. The opera opens with a crowd of _majas_ and _majos_ enjoying a holiday on the outskirts of Madrid. Some of the _majas_ are engaged in the popular pastime of tossing the _pelele_ (a man of straw) in a blanket. _Paquiro_ the toreador is paying compliments to the women. _Pepa_, his sweetheart of the day, arrives in her dogcart. Popular, she is warmly welcomed. Soon _Rosario_, a lady of rank, arrives in her sedan-chair to keep a tryst with her lover, _Fernando_, a captain in the Royal Spanish Guards. _Paquiro_ reminds her of a _baile de candil_ (a ball given in a room lit by candlelight) which she once attended. He invites her to go again. _Fernando_ overhears his remarks. His jealousy is aroused. He informs _Paquiro_ that _Rosario_ shall go to the ball, but that he, _Fernando_, will accompany her. He extracts _Rosario's_ promise to go with him, while _Pepa_, enraged by _Paquiro's_ neglect, vows vengeance upon her.

The second tableau shows the scene at the ball. _Fernando_ appears with _Rosario_. His haughty bearing and disdainful speech anger all present. The two men arrange for a duel that evening, and when _Rosario_ recovers from a swoon, _Fernando_ takes her away.

The third tableau reveals _Rosario's_ garden. _Fernando_ visits her before keeping his appointment with _Paquiro_. When a bell strikes the fatal hour, _Fernando_ tears himself away. He is followed hesitatingly by _Rosario_. Soon the silence is broken by a cry from _Fernando_, followed by a shriek from _Rosario_. The lovers reappear. _Rosario_ supports _Fernando_ to a stone bench where he dies in her arms.

Enrique Granados, perhaps the first important composer from Spain to visit North America, was born July 27, 1867, at Lerida, Catalonia. He died March 24, 1916, a passenger on the _Sussex_, torpedoed in the English Channel. The libretto for his "Goyescas" is by Fernando Periquet.

INDEX

NOTE: In setting this index, different faces of type have been used as follows:

For operas, thus: =Aïda=. For characters, thus: Rhadames. For singers, thus: _Eames_. For composers, thus: VERDI.

A

Abimelech, 725

Adalgisa, 326 ff.

ADAM, ADOLPHE CHARLES, 467, 497

_Adams, Suzanne_, 45, 516

Adina, 335 ff.

Adriano, 94 ff.

Æneas, 539, 541

Aennchen, 64 ff.

Afron, Prince, 829

Aegisthus, 804

Agathe, 64 ff.

Agnes, 816

Agramente, Mother, 765

Ah-Joe, 686 ff.

=Aïda=, 1, 6, 7, 90, 433, 438, 439, 466, 602, 618, 672

Alain, 728

Alberich, 89, 141, 148, 208

Albert, 748

_Alboni_, 306, 308

=Alceste=, 493

Alcindoro, 643 ff.

_Alda, Frances_, 458, 466, 602, 680, 762, 841

=Alessandro Stradella=, 559

Alessio, 319 ff.

Alfio, 612 ff.

Alfonso, 52, 53, 496

Alfonso XI., 359 ff.

Ali, 762

Alice, 343 ff., 501 ff.

Aline, 767

Alisa, 343

Allaine, 760

Almaviva, 308

Almaviva, Count, 23 ff., 295 ff.

Almaviva, Countess, 23 ff.

Almério, 762

_Alston, Elizabeth_, 23

_Althouse, Paul_, 834, 836, 843

Altichiara, 680 ff.

Alvar, Don, 524 ff.

Alvarado, Juan Baptista, 838

_Alvarez, M._, 458, 516, 543, 736, 745

Alvaro, Don, 437 ff.

_Alvary, Max_, 69, 140, 148, 191, 208, 227

Alvise, 482 ff.

_Amato, Pasquale_, 14, 427, 475, 482, 587, 602, 622, 639, 674, 680, 690, 707, 841

_Ambré, Mme._, 586

Ambrosio, 295

Amelfa, 829

Amelia (Adelia), 427 ff.

Amfortas, 272 ff.

=Amico Fritz, L'=, 618 ff.

Amina, 319 ff.

Amneris, 439 ff.

_Amodio_, 402, 416, 531

Amonasro, 439 ff.

Amor, God of Love, 9 ff.

=Amore Medici, L'=, 698

Anacoana, 718 ff.

_Ananian, Paolo_, 765

_Ancona_, 359, 602, 628

Andrès, 724

=André Chénier=, 712 ff.

Andromache, 539

ANGELINO, 638

_Angelo_ (Director), 434

Angelotti, Cesare, 653 ff.

Angioletta, 765

_Angrisani, Carlo_, 44, 295

Anita, 746

Anna, 523 ff., 541, 639, 720, 764

=Anna Bolena=, 334

Anne, 466 ff.

Annetta, 718 ff.

Annina, 416 ff., 807

_Anschütz, Carl_ (Director), 69

Antipas, Herod, 801

_Antognini, Signor_, 333

Antonia, 724

Antonio, 23 ff., 367 ff., 581 ff., 622 ff.

=Aphrodite=, 756 ff.

_Araline, Mme._, 62

Araquil, 746

ARBELL, LUCY (Librettist), 750

Archibaldo, 690 ff.

_Arden, Cecil_, 765

ARDITI, 306

Ariadne, 813

=Ariadne= (=Arianna=), 5

=Ariadne auf Naxos=, 813

Ariane, 759 ff.

=Ariane et Barbe-Bleue=, 759

=Arianna= (=Ariadne=), 5

Ariofarno, 715

Arkel, 752 ff.

Arlecchino, 705 ff., 814

=Armide=, 8, 20, 85, 493

Armide, 14 ff.

Armuth, Lena, 721

Arnold, 313 ff.

_Arnoldson, Sigrid_, 748

Arnolfo, 706

Arontes, 15 ff.

Arrigo, 436 ff.

Arsaces, 310 ff.

=Artaxerxes=, 4

Artemidore, 15 ff.

Arth, 840

Arturo, 343

Ascanio, 536 ff.

Ascanius, 539, 541

Asdrubale, Don, 719

Ashby, 674 ff.

Ashton, Lord Henry, 343 ff.

Assad, 773

Assur, 310 ff.

Astaroth, 773

Astolfo, 339 ff.

Astyonax, 539

Astrofiammante, Queen of the Night, 45

Asvezel Moslain, Khan, 767

Athanaël, 732

=Attaque du Moulin, L'=, 758 ff.

AUBER, DANIEL FRANÇOIS ESPRIT, 2, 306, 426, 496, 498, 510

_Audisio, Pietro_, 765, 844

Autharite, 752

Avito, 690 ff.

Azema, 310 ff.

Azucena, 403 ff.

B

Baal Hanau, 773

Bacchis, 757

Bacchus, 813

_Bada, Angelo_, 765

_Baglioni, Antonio_, 32

Bahis, Dr., 706

_Baklanoff, Georges_, 767

Balducci, 536 ff.

BALFE, 467

=Ballo in Maschera, Un=, 426, 438

Balthazar, 359 ff.

_Bandrowski, Alexander Van_, 830

Baptista, 772

Barbarina, 23 ff.

=Barber of Bagdad, The=, 770

=Barber of Seville=, 7, 22, 25, 295, 307, 308, 315, 376, 742

BARBIER, JULES (Librettist), 23, 531, 535, 562, 565, 574, 580, 585, 723

_Barbieri, Mme._, 44

Bardolph, 466 ff.

_Barili, Clothilda_, 367

Barnaba, 482 ff.

Baroncello, 94 ff.

_Barré_, 585

_Barrientos, Maria_, 849

_Bartet, Miss_, 728

Bartolo, 719

Bartolo, Doctor, 23 ff., 295 ff.

BARTON, GEORGE EDWARDS (Librettist), 833

Basilio, 295

_Bassett, Charles_, 612

_Bassi, Signor_, 32, 699

Bastien, 52

=Bastien and Bastienne=, 51

Bastienne, 52

BATKA, RICHARD (Libretttist), 781, 788

_Bayer, Julius_, 272, 776, 844

_Beale, Kittie_, 765

Beatrice, 583, 704 ff.

=Beatrice and Benedict=, 538

BEAUMARCHAIS (Librettist), 23

Beckmesser, Sixtus, 246 ff.

BEETHOVEN, 22, 54, 55, 56, 77

_Behne, Harriet_, 665

Belcore, 335 ff.

_Belhomme_, M., 724

BELL-RANSKE, JUTTA (Librettist), 834

Bellangère, 760

_Bellati_, 665

_Bellini, Laura_, 612

BELLINI, VINCENZO, 1, 318 ff., 325, 329, 334, 376, 493, 608

Benedict, 538

BENELLI, SEM (Librettist), 690

Benjamin, 495

Benoit, 643 ff.

Benson, Mrs., 725

=Benvenuto Cellini=, 535 ff.

Benvolio, 575 ff.

Beppe, 619 ff., 628 ff.

Berardengo, Ser Toldo, 680 ff.

_Bérat, Louis_, 699

_Bergmann, Carl_ (Director), 63, 107

BERGMÜLLER, ROBERT, 559

BERLIOZ, HECTOR, 13, 63, 78, 85, 535, 542

Bernal, 832

Bernardino, 536 ff.

BERNÈDE, ARTHUR (Librettist), 749

BERNHARD, A. (Librettist), 825

Bersi, 713 ff.

Berta, 295

Bertel, 781

Bertha, 516 ff.

BERTONI, FERNANDINO, 12

Bertram, the Unknown, 501

Bervoix, Flora, 416 ff.

Besenbinder, Der, 776

=Betrothed, The= (=I Promessi Sposi=), 481

_Bettaque, Katti_, 148

_Bettini_, 501

_Betz_, 89

BEY, MARIETTE (Librettist), 439

_Beyle, Leon_, 756

_Biachi, Hannibal_, 562

Bianca, 772

Biancofiore, 680 ff.

Biaso, 699 ff.

BIELSKY, V., 829

BIERBAUM, OTTO JULIUS (Librettist), 791

_Bignardi_, 386

BIS (Librettist), 317

_Bischoff, A._, 163

_Bispham, David_, 52, 227, 375, 830

BISHOP, HENRY ROWLEY, 30

_Bishop, Mme. Anna_, 546

Biterolf, 107 ff.

BIZET, GEORGES, 2, 494, 510, 586, 601, 603, 728

Black Lorenzo, 836

Blanchefleur, 788

_Blass, M._, 272, 830

BLAU, EDOUARD (Librettist), 742, 747

BLECH, 781

_Bloch, Max_, 772, 844

Blue-Beard, 759 ff.

_Blum, A._, 163

Bobadilla, 718 ff.

BODANZKY, ARTUR, 769, 773, 844

=Bohème, La= (Leoncavallo), 628

=Bohème, La= (Puccini), 638, 643 ff.

_Bohner, Mrs. Jennie_, 612

BOIELDIEU, FRANÇOIS ADRIEN, 495

BOÏTO, ARRIGO (Librettist), 458, 466, 474, 480, 482, 715

Bombardon, 779

_Bonci_, 329, 372, 639

_Bondini, Teresa_, 32

Boniface, 747

_Bonnard_, 745

Bonze, The, 665 ff.

_Borghese, Signora_, 333

Borgia, Lucrezia, 339 ff.

_Bori_, 620, 686, 690

=Boris Godounoff=, 822

BORODIN, 819

Borov, 720

Borsa, 387 ff.

_Bosio, Signorina_, 501, 503

Bostana, 771

Botta, 620, 686

BOUILLY (Librettist), 55

Boy, 440

_Braendle, Miss_, 272

Brander, 543 ff.

Brangäne, 227 ff.

_Brandt, Marianne_, 62, 69, 117, 163, 236, 272, 516

_Braun_, 18, 504

Braun, 781

_Braslau, Sophie_, 834

Brayole, Captain, 788

BREIL, JOSEPH, 836

_Brema_, 516

_Bressler-Gianoli_, 586, 602

Bret, Le, 841

BREUNING (Librettist), 54

_Bréval, Lucienne_, 729, 752

_Bridewell, Carrie_, 752

Brighella, 814

_Brignoli_, 339, 402, 416, 513, 585

_Broschi, Carlo_, 4

_Brough_, 319

BRÜLL, 779

BRUNEAU, ALFRED, 758

Brünnhilde, 7, 89, 140, 142, 146, 164, 208

Bucklaw, Lord Arthur, 343 ff.

BUNGE, RUDOLF (Librettist), 784

_Burgstaller_, 272

Burton, 832

Butterfly, Madam (Cio-Cio-San), 665 ff.

=Butterfly, Madama=, 638, 644, 664

BYRNE, JACQUES (Librettist), 836

C

Cadi, 762

CADMAN, CHARLES WAKEFIELD, 834

CAIN, HENRI (Librettist), 743, 745, 749

Cajus, Dr., 466 ff.

Calatrava, Marquis di, 437 ff.

Caliph, The, 771

=Calife de Bagdad, Le=, 495

Callidès, 756 ff.

_Calvé, Mme._, 475, 543, 564, 586, 602, 604, 612, 618, 745

CALZABIGI, RANIERO DI (Librettist), 9

=Cambiale di Matrimonio, La=, 294

CAMMARANO, SALVATORE (Librettist), 343, 372, 402

_Campanari_, 23, 628

=Campanello di Notte, Il=, 334, 374 ff.

_Campanini, Cleofante_ (Director), 354, 458, 466, 611, 665, 699

_Campanini, Italo_, 117, 343, 354, 359, 402, 437, 440, 475, 503, 531, 546, 562, 586, 587

_Campbell, Miss_, 612

Canio, 628 ff.

_Canissa, Pauline_, 163

=Canterbury Pilgrims, The=, 843

_Capoul_, 575, 580

Capulet, Count, 575 ff.

Caradoc, 840

Carlos, Don, 377, 437, 438

Carmela, 699 ff.

Carmelita, 836

=Carmen=, 2, 303, 510, 586, 587, 603

Caroline, Queen, 708 ff.

CARRÉ, MICHEL (Librettist), 2, 531, 562, 565, 574, 580, 585, 603, 723

_Caruso_, 14, 335, 337, 339, 343, 354, 386, 388, 402, 412, 426, 475, 482, 504, 516, 546, 564, 587, 602, 604, 611, 620, 622, 640, 665, 674, 714

_Cary, Annie Louise_, 117, 359, 402, 437, 440, 475, 503, 585

_Case, Anna_, 807

Cassandra, 539

Cassio, 459 ff.

_Castelmary_, 557

Castiglione, 765

CASTIL-BLAZE (Librettist), 299, 307

=Castor and Pollux=, 1

Castro, José, 675, 838

CATALINA, ALFRED, 719

Caterina, 619 ff.

Catherine, 530

CAVALIERI, CATERINA, 43

_Cavalieri, Lina_, 640, 715, 749

=Cavalleria Rusticana=, 609, 610, 612, 626, 698, 707, 746

CAVALLI, 5

Cavaradossi, Mario, 652 ff.

Cellini, Benvenuto, 536 ff.

=Cendrillon=, 728, 745

Ceprano, Count, 386 ff.

Ceprano, Countess, 387 ff.

Cesano,765

=Cesare Borgia=, 627

_Cesarini, Duke_ (Director), 300

_Chaliapine_, 475

_Chalmers, Thomas_, 762, 834

Chappelou, 497

_Chapuis_, 601

Charles, Vicomte de Sirval, 367 ff.

Charlotte, 748

Charming, Prince, 745

CHARPENTIER, GUSTAVE, 750

Chaucer, 843

=Chemineau, Le=, 766

Chénier, André, 713 ff.

CHERUBINI, LUIGI, 493, 494

Cherubino, 23 ff.

Chiarina, 765

Chim-Fen, 686 ff.

Chimaris, 757

Chimène, 742

Chonita, 832

CHOPIN, 306

CHORLEY (Librettist), 574

Choroebus, 539

Christian, 841

Christine, 779

Chrysis, 757

Chrysothemis, 804

Ciccillo, 699 ff.

=Cid, Le=, 742

Cieca, La, 482 ff.

Cinderella, 745

_Cinti-Damoreau, Mlle._, 501

CIVINI, G., 674

CLARETIE, JULES (Librettist), 745

_Clarke, Payne_, 612

Claudio, 538

=Clemenza di Tito=, 51

Cleo, 788

Cleopatra, 750

=Cléopâtre=, 750

Clitandro, 706

Clotilda, 326 ff.

Clytemnestra, 804

Cochenille, 724

Colas, 52, 779

COLAUTTI (Librettist), 720

_Coletti_, 503, 562

_Colin_, 562

_Collin, M._, 724

Colline, 643 ff.

Colombina, 704 ff.

Colombo, Cristoforo, 717 ff.

Colonna, Steffano, 94 ff.

Comare, La, 719

Concetta, 699 ff.

=Conchita=, 685, 716

Conchita, 716 ff.

_Conried, Heinrich_ (Director), 272, 612, 804

=Contes d'Hoffmann, Les=, 723

CONVERSE, FREDERICK SHEPHERD, 832, 833

Coppélius, 724

=Coq d'Or, Le=, 828

_Coquelin_, 728

_Cordier_, 531

Corentino, 531 ff.

CORMON (Librettist), 603

CORNEILLE, 742

CORNELIUS, PETER, 769, 770

=Corregidor, Der=, 792

_Corsi, Pini_, 674

=Cortez, Fernando=, 80

Cortez, 765

Cosse, 504 ff.

=Così Fan Tutte=, 24, 52

COSTA, 63, 78

_Crabbe, Mr._, 837

_Cremonini_, 359, 652

=Crepusculum=, 627

Crespel, 724

=Cricket on the Hearth, The=, 775

Crisogono, 721

=Crispino e La Comare=, 718 ff.

Crispino, 718 ff.

=Cristoforo Colombo=, 717 ff.

_Crivelli, Signor_, 295

Cuno, 63 ff.

Cyril, 720

=Cyrano de Bergerac=, 832, 841

=Czar und Zimmermann= (=Czar and Carpenter=), 80

D

=Dafne=, 4

Daland, 98 ff.

Dalila, 725

_Dalmorès, Charles_, 543, 587, 602, 749

=Dame Blanche, La=, 495

Damian, 784

=Damnation de Faust, La=, 535, 542 ff.

_Damrosch, Dr. Leopold_ (Director), 62, 90, 107, 163, 498, 523, 542, 830

DAMROSCH, WALTER, 832, 841

_d'Angelo, Louis_, 836

Danielo, 765

Danish Knight, The, 15 ff.

DA PONTE, LORENZO (Librettist), 29, 30, 31, 44, 52

David, 247 ff., 619 ff.

DÉBUSSY, 2, 752

_Defrère, Désiré_, 767

D'ENNERY, M. (Librettist), 742

_de Gebel, Frida_, 163

DE GRAMONT, LOUIS (Librettist), 756

DE KOVEN, REGINALD, 843

DELAVIGNE (Librettist), 496, 501

DELDEVEZ, EDOUARD, 559

DELIBES, 724

_Delmas, M._, 736

_Delpouget, M._, 736

_Del Puente_, 402, 503, 562, 586, 612, 736

_de Luca, Giuseppe_, 628, 665, 762

_Demellin_, 756

Démétrios, 756 ff.

_de Reszke, Édouard_, 45, 208, 227, 246, 440, 503, 516, 523

_de Reszke, Jean_, 23, 45, 140, 208, 227, 246, 426, 503, 516, 523, 542, 575, 563, 586, 736, 748

DESCHAMPS (Librettist), 503

_Deschamps-Jéhin, Mme._, 750

Desdemona, 459 ff.

_de Segurola, Andrés_, 674, 762

Desfonandres, Dr., 706

Despina, 52

Despréaux, 707 ff.

d'Este, Alfonso, Duke of Ferrara, 339 ff.

_Destinn, E._, 427, 466, 475, 482, 504, 665, 674

=Deux Journées, Les=, 493

Diable, Le, 728

Diana, 18 ff.

Dido, 541

_Didur, Adamo_, 516, 622, 674, 686, 690, 765, 776

Diego, Don, 524 ff., 742

Diemut, 797

_Dilthey, Minnie_, 9

Dimitri, the Pretender, 822

_di Murska, Ilma_, 531

_Dinh-Gilly_, 674

Dinorah, 531 ff.

=Dinorah, ou le Pardon de Ploërmel=, 500, 530

Di Silva, Don Ruy Gomez, 377 ff.

=Djamileh=, 605

Djamileh, 605

Dmitri, 720

d'Obigny, Marquis, 416 ff.

Dodon, King, 828

_Dolci, Alessandro_, 720

Dominique, 759

Donati, 679

=Don Carlos=, 437, 441

Donella, 680 ff.

DONIZETTI, 1, 308, 334, 359, 366, 372, 376, 493, 608

=Donne Curiose, Le=, 698, 704

Donner, 89, 148

Dorabella, 52

D'ORINVILLE (Librettist), 720

Doris, 788

_Dorus, Mlle._, 501

Dot, 775

Douphol, Baron, 416 ff.

=Duca d'Alba, Il=, 366

_Dufranne, Mr._, 729, 837

_Dufriche_, 652, 745, 752

DUKAS, PAUL, 759

Dulcamara, 335 ff.

Dulcinée, La belle, 743 ff.

DU LOCLE, CAMILLE (Librettist), 752

_Duprez_, 313, 343

Durham, Lady Harriet, 546 ff.

Dursel, 788

=Dusk of the Gods, The=, 89

Dutchman, The, 98

DUVAL, ALEXANDER (Librettist), 495

DU WAILLY (Librettist), 535

E

_Eames, Emma_, 23, 140, 246, 402, 426, 458, 466, 475, 564, 575, 586, 612, 620, 715, 748

_Easton, Florence_, 622, 769, 835

EBERHARDT, NELLE RICHMOND (Librettist), 834

Eboli, Princess, 438

=Edgar=, 639

Edgar of Ravenswood, 343 ff.

Edgardo, 343, 608

Edmund, 640 ff.

_Egener, Minnie_, 844

Eislinger, Ulrich, 246 ff.

El Dancairo, 587 ff.

Eleanora, 704 ff.

=Elektra=, 769, 804

Elektra, 804

Elena, 475 ff.

Elisa, Princess, 708 ff.

Elizabeth, 107 ff.

Elizabeth, St., 769

Ellen, 725

_Ellis, Mary_, 765

=Elopement from the Serail, The= (=Belmonte und Constance=), 52

El Remendado, 587 ff.

Elsa of Brabant, 117 ff.

Else, 781

Elvino, 319 ff.

Elvira, 330, 377, 608

Elvira, Donna, 31 ff.

Emilia, 459 ff.

Engel, Friedrich, 787

_Engel, Lotta_, 776

Enrico, 343, 375

=Enrico di Borgogna=, 335

=Ensorcelée, L'=, 764

Enya, 840

Erda, 89, 140, 142, 148

Eric, 98 ff.

ERLANGER, CAMILLE, 756

=Ernani=, 377, 385

Ernani, 608

Ernani, John, of Aragon, 377 ff.

Ernesto, 372 ff.

Eroshka, 820

Escamillo, 587 ff.

Eschenbach, Wolfram von, 107 ff.

Esmeralda, 816

Estella, 716 ff.

ÉTIENNE, V.J. ("JOUY"), 313

=Eugen Onegin=, 825, 828

=Euryanthe=, 63, 69, 77, 85

Eurydice, 9 ff.

Eva, 247 ff.

=Evangelimann, Der=, 787

Everton, Amy, 834

Everton, Mrs., 834

F

Fabrizio, 718 ff.

Fafner, 141, 148

=Fairies, The=, 82

=Falstaff=, 7, 376, 466, 480, 847

Falstaff, Sir Henry, 466 ff.

=Fanciulla del West, La=, 638, 674

=Faniska=, 494

Farlaf, 818

_Farneti, Marie_, 620

_Farrar, Geraldine_, 23, 45, 565, 586, 602, 611, 622, 665, 705, 707, 741, 765, 776

Fasolt, 141, 148

Fatimah, 762

_Faure_, 45, 531, 562, 585

=Faust=, 7, 79, 510, 561, 562

Faust, 475, 543, 562

Favart, 788

=Favorita, La=, 334, 359

=Fedora=, 714, 720

Fedora, Princess, 720

=Feldlager in Schlesien, Das=, 500, 530

Fenella, 496

Fenton, 466 ff.

Feodor, 822

Ferdinand, 359 ff.

Fernando, 850

=Fernando Cortez=, 80

Fernando, Don, 54 ff.

Ferrando, 52, 402

_Ferrari-Fontana_, 690

=Feuersnot=, 769, 796

FEVRIER, HENRY, 761

Fiamina, 729

=Fidelio=, 22, 54, 56, 62, 77

Fides, 516 ff.

Fieramosca, 536 ff.

Figaro, 23, 24, 295, 309

=Figaro, Marriage of=, 51, 295

=Figlia del Reggimento, La=, 334, 355

=Figliuol Prodigo, Il=, 481

Filipievna, 825

=Fille de Roland, La=, 763

Finn, 818

Fiordiligi, 52

Fiorello, 295

_Fischer, Emil_, 69, 117, 140, 148, 191, 208, 227, 246

_Fitziu, Anna_, 719

Flaminio, 690 ff.

Flammen, 622 ff.

Flavius, 326 ff.

Fléville, 713 ff.

Flora, 690 ff.

Florestan, 54, 62

Florinda, 704 ff.

Flosshilde, 148, 208

=Flying Dutchman, The=, 69, 79, 84, 98, 109, 118, 226

Folco, 626

Folz, Hans, 246 ff.

_Fontaine, Charles_, 761, 767

Ford, 466 ff.

Ford, Mistress, 466 ff.

Forêt, Lysiart de, 69 ff.

_Formes, Carl_, 313, 501, 503

_Fornia_, 807

Forth, Sir Richard, 330 ff.

FORTUNA, FERDINANDO (Librettist), 639

=Forza del Destino, La=, 436 ff.

FORZANO, GIOACCHINO (Librettist), 622

Fouché, 707

=Fra Diavolo=, 497

Francesca, 680 ff.

=Francesca Da Rimini=, 680 ff.

Francesco, 536 ff.

FRANCHETTI, ALBERTO, 717, 721

=Franco Arciero, Il=, 63

François, 767

Françoise, 759

Frantz, 724

Franz, 622 ff.

Frasquita, 587, 793

Frédéric, 581 ff.

Frederica, Duchess of Ostheim, 434 ff.

Frederick, 724

Frederick of Telramund, 117 ff.

Frederico, 619 ff.

Freia, 141, 148 ff.

=Freischütz, Der=, 62, 77, 81, 85

_Fremstad, Olive_, 14, 140, 227, 801, 804

Freudhofer, Johannes, 787

Freudhofer, Matthias, 787

_Frezzolini_, 386

_Friche, Claire_, 756

Fricka, 89, 142, 148, 164

Friedhold, 799

Froh, 148 ff.

_Fuchs_, 272

_Fugère, Lucien_, 729, 750

Furies, The, 10

_Fursch-Madi_, 483

Furst, Walter, 313 ff.

G

GABEAUX, PIERRE, 55

Gabriel, Padre, 833

_Gadski, Johanna_, 9, 227, 246

_Galassi, Antonio_, 332, 354, 367, 387, 402, 437, 458, 587

Galitzky, Prince, 820

_Gall, Yvonne_, 767

GALLET, M. LOUIS (Librettist), 605, 731, 742, 758

_Galli-Curci, Amelita_, 295, 306, 343, 386, 388, 416, 532, 575, 742

_Galli-Marié_, 586, 601

GANDONNIÈRE, 542

Gansemagd, Die, 776

Garcia, 716, 743 ff.

_Garcia, Mme._, 44

_Garcia, Manuel_, 44, 295, 309

_Garcia, Jr., Manuel_, 44

_Garcia, Maria_, 44, 295

_Garden, Mary_, 587, 603, 747, 750, 756, 761, 801, 804, 837

_Garrison, Mabel_, 52

Garrito, Gen., 746

Garsenda, 680 ff.

Gaspar, Don, 359 ff.

_Gates, Lucy_, 52, 375

_Gatti-Casazza_, 516, 611

GAUTHIER-VILLARS, HENRY (Librettist), 804

_Gay_, 466

Gazello, 339 ff.

GAZZANIGA, GIUSEPPE, 31

Gelsomino, 707 ff.

Gennaro, 339, 699 ff.

Genoveva, 752 ff.

Geôlier, Le, 756 ff.

Gerald, 724

GÉRARD (Librettist), 542

Gérard, Charles, 713 ff.

=Germania=, 720

Germont, Alfredo, 416 ff.

Germont, Giorgio, 416 ff.

=Gerolamo Savonarola=, 627

_Gerold, Herman_, 612

Geronte de Ravoir, 640 ff.

_Gerster, Etelka_, 45, 319, 325, 329, 335, 343, 546

Gertrud, Frau, 781

Gertrude, 575, 778

Gertrude, Queen of Denmark, 586

_Gerville-Réache, Jeanne_, 746, 749

Gessler, 313 ff.

GHISLANZONI, ANTONIO, 439, 441

GIACOSA, GIUSEPPE (Librettist), 643, 652, 664

_Gianini_, 736

Giannetta, 335 ff.

Giannetto, 622 ff.

=Gianni Schicchi=, 677

Giarno, 581 ff.

GIESEKE (Librettist), 45, 46

Gil, Count, 705

Gilda, 387 ff.

_Gilibert, Charles_, 355, 602, 652, 745, 752

GILLE, PHILIPPE (Librettist), 724, 736

=Gioconda, La=, 480, 481, 482, 638

Gioconda, La, 482 ff.

GIORDANO, UMBERTO, 607, 707, 726

Giorgetta, 678

Giorgio D'Ast, 765

_Giorgi-Righetti_, 300, 308

Giovanni, 377, 387, 680

=Giovanni di Guzman--Vespri Siciliani=, 436

=Giovanni, Don=, 21, 22, 25, 30, 31, 32, 33, 43, 51, 85, 493

Giovanni, Don, 21, 31 ff.

_Giraldoni_, 482

=Giovanni Gallurese=, 697

GIRARD, ERNEST, 723

Giscon, 752

=Gismonda=, 761

Gismonda, 761

Giuseppe, 416 ff.

GLINKA, MICHAEL IVANOVICH, 818

Gloom, 840

_Gluck, Alma_, 9, 14

GLUCK, CHRISTOPH WILLIBALD, 1, 4, 6, 8, 12, 14, 17, 19, 20, 22, 77, 90, 293, 493, 494

Godfrey, Duke, 117 ff.

=Godounoff, Boris=, 822

Godounoff, Boris, 822

GOETZ, HERMANN, 769, 772

_Goff, Winifred_, 665

=Golden Cross, The=, 779

_Golden, Grace_, 612

GOLDMARK, CARL, 769, 773, 775

GOLISCIANI, ENRICO (Librettist), 699, 705

Golo, 752 ff.

GONDINET (Librettist), 724

Gorislava, 819

_Goritz, Otto_, 246, 272, 772, 776, 807

Gormas, Comte de, 742

Goro, 665

=Götterdämmerung=, 140, 207

GOUNOD, CHARLES FRANÇOIS, 2, 438, 459, 494, 510

_Gourdon, M._, 724

=Goyescas=, 849

GRANADOS, ENRIQUE, 849

_Grange, La_, 416, 503

_Grau, Maurice_ (Director), 509, 563

Grazia, 699 ff.

_Graziani_, 417

Grech, 720

Grégoras, 762

Gregory, 575 ff.

Gremin, 825

Grenvil, Dr., 416 ff.

_Grenville, Miss Lilian_, 837

Gretel, 778

Grieux, Chevalier Des, 640, 736 ff.

Grieux, Count Des, 736 ff.

Grimaldo, Enzo, 482 ff.

Griselda, 727

=Grisélidis=, 727

_Grivot, M._, 724

_Grisi_, 306, 309, 326, 329, 339, 374

Grumio, 772

_Grün, Frau_, 89

_Guadagni, Gaetano_, 12, 14

Gubetta, 339 ff.

_Gudehus_, 272

Guerra, Barbara de la, 838

Guerra, Don Francisco de la, 837

Guevara, Don Fernando, 717 ff.

Guglielmo, 52

Guidon, Prince, 828

Guiche, de, 841

GUILLARD, FRANÇOIS (Librettist), 18

=Guillaume Tell=, 294, 312

_Guille_, 612

GUNSBOURG, RAOUL, 767

Gunther, 89, 143, 208

=Guntram=, 798

Guntram, 799

_Gura_, 89

Gurnemanz, 272 ff.

Gusmann, Leonora di, 359 ff.

=Gustave III, ou Le Bal Masqué=, 426

GUTIERREZ, ANTONIO GARCIA (Librettist), 402

Gutrune, 89, 143, 208

Gwynn, 840

H

Hänsel, 778

=Hänsel und Gretel=, 746, 769, 778, 807

Hagen, 89, 143, 208

HALÉVY, JACQUES, 2, 498, 510

Haltière, Mme. de la, 745

Hamilcar, 752

=Hamlet=, 585

Hamlet, 585

_Hammerstein, Oscar_ (Director), 612

HÄNDEL, 14

Handsome, 674

Hanego, 619 ff.

Hans, 816

=Hans Heiling=, 79

Happy, 674 ff.

=Happy Shade, A=, 9 ff.

_Harden_, 272

Haroun, Prince, 605

=Harriette, ou La Servante de Greenwiche=, 559

Harry, 674 ff.

HARTMANN, G. (Librettist), 747

HASSE, JOHANN ADOLPH, 4

_Hastreiter, Helene_, 9

Hate, 14 ff.

_Hauck, Minnie_, 575, 586, 602, 612, 736

HAYDN, 51

_Hayes, Miss_, 516

Hecuba, 539

Hedvige, Signora, 721

Hedwiga, 313 ff.

_Héglon, Mme._, 736

Hélène, Duchess, 436 ff.

HELL, THEODOR (Librettist), 76

=Hélléra=, 697

_Hempel, Freda_, 23, 45, 246, 427, 475, 504, 807

HENDERSON, WILLIAM J. (Librettist), 841

Henrietta, 330 ff.

Henry the Fowler, 117 ff.

HERBERT, VICTOR, 837

Herman, 827

Hermann, 107 ff.

Hermann, Landgrave, 769

Hero, 538, 715

=Hero e Leandro=, 715 ff.

Herod, 749

=Hérodiade=, 748

Herodias, 749, 801

HÉROLD, LOUIS J.F., 497

Hexe, Die, 776

Hidraot, 15 ff.

_Hill_, 89, 272

_Hincks, Mrs. Pemberton_, 612

_Hinrichs, Gustave_ (Director), 612, 618, 628

_Hinshaw, William_, 776

HIPPOLYTE (Librettist), 313

Hoël, 531 ff.

_Hofer, Mme._, 52

Hoffman, 724

_Holman, Miss_, 309

_Holman, Mrs._, 23

Holzhacker, Der, 776

_Homer, Louise_, 9, 14, 140, 246, 272, 402, 427, 475, 482, 665, 776, 830

HOOKER, BRIAN (Librettist), 840

Hortensio, 355, 772

_Howard, Kathleen_, 762, 765, 834, 836

Hua-Qui, 686 ff.

_Huberdeau, Gustave_, 756, 761, 837

Hu-chi, 686 ff.

Huebscher, Catherine, 708 ff.

HUGO, JOHN ADAM, 834

HUGO, VICTOR (Librettist), 343, 377, 386

=Huguenots, Les=, 294, 498, 500, 503, 510, 527, 731

HUMPERDINCK, ENGELBERT, 769, 776, 778

Hunding, 142, 163

Hu-Tsin, 686 ff.

Hylas, 541

I

Iago, 458 ff.

=Ib and Little Christina=, 689

=Idomeneo=, 51

Idrenus, 310 ff.

Igor, 820

=Igor, Prince=, 819

Igoreivitch, Vladimir, 820

Iguamota, 718 ff.

=Il Barbiere di Siviglia=, 705

Il Cieco, 620 ff.

=Il Dissoluto Punito, ossia il Don Giovanni=, 30

ILLICA, LUIGI (Librettist), 619, 625, 643, 652, 664, 712, 717, 721

Inez, 359, 403, 523

Infanta, 742

Intendant, 367

Iolan, 833

=Iphigénie en Aulide=, 493

=Iphigénie en Tauride=, 8, 9, 18, 19, 20

Iphigénie, 18 ff.

=Iphigenia in Aulis=, 85

Irene, 94 ff.

=Iris=, 611, 619, 620

Irma, 750

_Isaac, Mlle. Adèle_, 724

Isèpo, 482 ff.

=Isabeau=, 611, 625

Isabeau, 625 ff.

Isabella, 501 ff.

Isabel of Spain, Queen, 717 ff.

Isolde, 227 ff.

J

Jackrabbit, Billy, 674 ff.

Jacob, 495

Jacquino, 54 ff.

_Jadlowker, Herman_, 705, 776

_Jäger_, 272

Jago, 377 ff.

Jagu, 831

_Jaide_, 89

_Jamet_, 585

Jane, 721

_Janouschoffsky, Mme._, 612

Javotte, 736 ff.

Jean, 746, 747

=Jean de Paris=, 495

Jebbel, 721

Jemmy, 313 ff.

=Jessonda=, 79

=Jewels of the Madonna, The=, 699

Joannes, 844

Joe, 674 ff.

Johanna, 844

John, 775

Johnson, Dick (Ramerrez), 674 ff.

John the Baptist, 749

Jokanaan, 801

Jonas, 516 ff.

=Jongleur de Nôtre Dame, Le=, 746 ff.

Jopas, 541

José, Don, 587 ff.

Josef, 764

=Joseph en Egypte=, 495

Joseph, 495

_Journet, Marcel_, 272, 477, 620, 752, 761

"JOUY," V.J. ÉTIENNE (Librettist), 313

Juan, 744

_Juch, Emma_, 9

=Juive, La=, 498, 510, 731

Julia, 708 ff.

Julien, 750

Juliet, 575 ff.

K

Kagama, 838

KALBECK, MAX (Librettist), 51

Karnac, 727

Kaspar, 64 ff.

Katharina, 772

Katrinka, 815

KEISER, REINHARD, 4

_Kellogg, Clara Louise_, 367, 546, 562

_Kelly, Michael_, 24

_Kemlitz_, 227, 246

_Kerker, Gustave_ (Director), 612

Kezal, 817

KIENZL, WILHELM, 787, 788

Kilian, 64 ff.

_Kingston, Morgan_, 835

Kirchhofer, Werner, 784

Klingsor, 272 ff.

Kobus, Fritz, 619 ff.

_Kögel, Josef_, 107, 163

Konchak, Khan, 820

Konchakovna, 820

=Königskinder=, 776

Königssohn, Der, 776

Konradin, 784

Körner, Carlo, 721

Kothner, Fritz, 246 ff.

_Kousnezova, Marie_, 750

KREUTZER, CONRADIN, 80

_Kronold, Selma_, 612, 628

_Krusceniski_, 665

Kruschina, 815

=Kuhreigen, Der=, 788

Kundry, 273 ff.

Kunrad, 797

_Kurt_, 18, 140

Kurwenal, 227 ff.

Kyoto, 630 ff.

L

_Lablache_, 45, 329, 374, 562

LACHMANN, HEDWIG (Librettist), 800

Laertes, 581, 586

=L'Africaine=, 500, 523, 527

=Lakmé=, 724

Lakmé, 724

_L'Allemand, Pauline_, 725

LALO, 727

_Lambert, A._, 728

=L'Âme en Peine=, 546

_Lammert, Fräulein_, 89

=L'Amore Medici=, 705 ff.

=L'Amore Dei Tre Re=, 690 ff.

Lampe, 781

L'Anery, Gontran de, 779

LANGE, FERDINAND, 76

LANNER, 808

Larina, 825

Larkens, 674 ff.

_Lasalle_, 523, 585

Laura, 434, 482

_Laurenti, Mario_, 765, 844

Lawrence, Friar, 575 ff.

_Lazaro, Hipolito_, 765

LAZZARI, SYLVIO, 764

_Lazzari, Virgilio_, 720

Leandro, 704, 715

=Le Villi=, 638

_Leesugg, Miss_, 295, 308

Lefebvre, 707 ff.

_Legros_, 12, 13

=Legend, The=, 836

_Lehmann, Lilli_, 45, 62, 69, 89, 93, 140, 191, 207, 227, 326, 475, 516, 603

_Lehmann, Marie_, 89

=Leila=, 603

Leila, 604

Lelio, 704 ff.

=L'Elisire d'Amore=, 334, 335

LEMAIRE, FERDINAND (Librettist), 725

LÉNA, MAURICE (Librettist), 746

Lenski, 825

Leonato, 538

LEONI, 607, 686

LEONCAVALLO, RUGGIERO, 7, 91, 607, 608, 627, 628, 638

_Leonhardt, Robert_, 769, 772, 844

Leonora, Donna, 437 ff.

Leonora, Duchess, 403 ff.

=Leonora, ossia L'Amore Conjugale=, 55

Leonore, 54, 62

Leporello, 31 ff.

=Lépreuse, La=, 764

LEROUX, XAVIER, 765, 766

Leroy, 707 ff.

Lescaut, 640, 736

=L'Étoile du Nord=, 500, 530

Letorières, Gastone de, 416 ff.

Leuthold, 313 ff.

_Levasseur_, 501

_Levi, Hermann_ (Director), 52, 272

_Lherie_, 601

=Liebesverbot, Das=, 82

_Lind, Jenny_, 325, 334, 355, 501

Linda, 367 ff.

=Linda di Chamounix=, 367

Lindorf, 724

Lionel, 546, 834

Lisa, 319, 827

Lise, 841

Lisetta, 706, 719

_Listner, Mme._, 163

LISZT, FRANZ, 86, 98, 117, 120, 535, 769

=Lituani, I=, 481

Liverotto, 339 ff.

=Lobetanz=, 791

Lobetanz, 791

LOCLE, CAMILLE DU (Librettist), 439, 441

=Lodoletta=, 611, 622

Lodoletta, 622 ff.

Lodovico, 459 ff.

Loewe, Frederick, 721

Loge, 89, 148

=Lohengrin=, 68, 69, 79, 86, 99, 117, 118, 273, 516

Lohengrin, 117 ff.

Lola, 612 ff.

_Lolli, Giuseppe_, 32

Lopez, Juan, 793

=Loreley=, 719 ff.

Loreley, 720

Loris, Count, 720

LORTZING, ALBERT, 80

Lothario, 581 ff.

Louis VI., 69 ff.

=Louise=, 750

Louise, 750

Loÿs, 729

Luc Agnolo, 765

_Lucca_, 355, 523

Lucentio, 772

Lucia, 343

=Lucia di Lammermoor=, 7, 334, 343, 376, 426, 608, 673

Lucia, Mamma, 612 ff.

Lucinda, 706

Lucinde, 14 ff.

=Lucrezia Borgia=, 334, 339

Lucy, 343 ff.

Ludmilla, 818

_Ludwig_, 736

Ludwig, Landgrave, 769

Luigi, 678

Luisa, 434 ff.

=Luisa Miller=, 433, 438

LULLY, 4, 6, 17, 21

_Lussan, Zélie de_, 466

Lützow, Luigi, 721

M

_Macbeth, Florence_, 719

MACKAYE, PERCY (Librettist), 843

Macroton, Dr., 706

Madda, 764

Maddalena, 387 ff.

Madeleine, 713 ff.

Madeline, 367 ff.

Madelon, 713 ff.

MAETERLINCK, MAURICE (Librettist), 752, 759

Magda, 676 ff.

Magdalena, 247, 787

_Maguénat, Alfred_, 750

MAHLER, GUSTAVE, 76

=Magic Flute, The=, 7, 21, 22, 45, 52, 55, 77, 85, 307

Malatesta, Dr., 372 ff.

_Malatesta, Pompilio_, 844

Malatestino, 680 ff.

=Mala Vita=, 707

_Malibran_, 44

Maliella, 699 ff.

Mallika, 724

_Malten_, 262

_Mancinelli_ (Director), 752

MANCINELLI, LUIGI, 715

Manfredo, 690 ff.

=Manon Lescaut=, 638, 640, 736, 741, 742

Manon Lescaut, 640, 736 ff.

_Maran, Ernst_, 776

Mantua, Duke of, 386 ff.

Manuela, 793

_Mapleson_ (Director), 354, 712

Manrico, 402 ff.

=Manru=, 830

Manru, 831

_Mantelli_, 359, 503

Marcel, 504, 643

MARAST, ARMAND (Librettist), 313

Marc Antony, 750

Marcellina, 23 ff., 54 ff.

_Marconi_, 458

_Marcy, Mme._, 736

_Mardones_, 516

_Maréchal, Mr._, 729, 746, 750

_Maretzek, Mme._, 516

Margared, 727

Margherita, 475 ff.

Margiana, 771

Marguerite, 543, 562

Maria, 784

Marianne, 807

Marie, 355, 816

_Marimon_, 531

=Marina=, 707

Marina, 822

_Marini_, 501, 503

_Mario_, 45, 326, 374, 388, 516

=Marion Delorme=, 481

Marke, King, 227 ff.

Marouf, 762

=Marouf, the Cobbler of Cairo=, 762

=Marriage of Figaro, The=, 21, 22, 23, 30, 31, 295

MARSCHNER, HEINRICH, 79

Marta, 836

=Martha=, 546 ff.

Martha, 475, 787

_Martinelli_, 680

_Martin, Riccardo_, 841

_Martyn, Mrs._, 62

Marullo, 387 ff.

Mary, 98 ff.

=Masaniello=, 496, 498, 510

Masaniello, 496

MASCAGNI, PIETRO, 7, 91, 607, 610, 612, 618, 638

=Maschere, Le= (=The Maskers=), 611

Masetto, 31 ff., 36 ff.

=Masked Ball, The= (=Un Ballo in Maschera=), 426 ff.

_Mason, Edith_, 843

MASSENET, JULES, 2, 7, 306, 494, 510, 727, 731, 736, 742, 743, 745, 746, 747, 748, 750

Massimelle, Marquis, 788

Mateo, 716 ff.

_Materna, Frau_, 89, 163, 272, 498

Mathieu, 713 ff.

_Mathieu-Lutz, Mme._, 756

Matheos, 718 ff.

Mathô, 752

_Mattfeld, Marie_, 674, 765, 772, 776, 807

Matthisen, 516 ff.

MATTINATA, 306

_Matzenauer, Margarete_, 23, 427, 504, 516, 769

_Maurel, Victor_, 45, 440, 458, 466, 503, 623, 627

Max, 64 ff.

May, 775

MAYR, SIMON, 55

MEYREDER-OBERMAYER, ROSA, 792

_Mazarin_, 804

_Mazzoleni, Francesco_, 523, 562

_McCormack, John_, 45, 355, 837

_McGuckin, Barton_, 736

_McIntyre, Margaret_, 475

=Medici, I=, 627

Mefistofele, 475 ff.

MÉHUL, ÉTIENNE NICHOLAS, 495

MEILHAC, HENRI (Librettist), 586, 736

=Meistersinger von Nürnberg, Die=, 88, 91, 119, 246, 376

_Melba, Nellie_, 295, 306, 343, 388, 416, 458, 503, 543, 564, 628

Melcthal, 313 ff.

MÉLÉSVILLE (Librettist), 497

Mélisande, 753, 760

Mélisse, 14 ff.

Melot, 227 ff.

MENASCI, G., 612

MENDÈS, CATULLE (Librettist), 765

=Mephistopheles=, 474

Méphistophélès, 543, 562

Mercedes, 587 ff.

Mercedes, Doña, 793

Mercutio, 575 ff.

=Mère Coupable, La=, 296

Merlier, 759

Merrill, Paul, 838

=Merry Wives of Windsor, The=, 80

Méru, 504 ff.

MÉRY (Librettist), 437

=Messiah, The=, 14

MEYERBEER, GIACOMO, 1, 2, 79, 438, 440, 459, 494, 498, 499, 510, 523

Micaela, 587 ff.

_Micelli, Catarina_, 32

Micha, 816

Michela, 765

Michele, 678

_Mierzwinski_, 313

=Mignon=, 580 ff.

Mignon, 581 ff.

Mikkel, 764

Mikleford, Lord Tristan de, 546 ff.

Miller, 434 ff.

MILLIET, PAUL (Librettist), 747, 748

_Milon_, 44

Mime, 89, 148

Mimi, 143, 644

Minnie, 674 ff.

_Miolan-Carvalho_, 562, 575

_Mirabella_, 475

Mirabolano, 719

Miracle, Dr., 724

Missail, 822

Mitranus, 310 ff.

_Molé, Mlle._, 724

=Mona=, 832, 840

Mona, 840

=Monna Vanna=, 761

Monna Vanna, 761

Montano, 459 ff.

_Monteux, Pierre_ (Director), 762

_Montegriffo_, 628

MONTEMEZZI, ITALO, 607, 690

Monterone, Count, 386 ff.

MONTEVERDI, CLAUDIO, 5

Montfleury, 841

Montford, Guy de, 436 ff.

Morales, 587 ff.

MORAND, EUGÈNE (Librettist), 727

_Moran, Miss_, 272

_Moran-Oldern_, 140, 148

_Morello, Signor_, 43

Morfontaine, Guillot de, 736 ff.

=Mors et Vita=, 561

MOSENTHAL, G.H. (Librettist), 773

MOSENTHAL, H. (Librettist), 779

Moser, August, 246 ff.

_Mottl, Felix_ (Director), 539

Monostatos, 46 ff.

MOUSSORGSKY, 822, 824

MOZART, 21, 22, 24, 30, 33, 43, 45, 51, 55, 77, 293, 295, 426, 493

=Muette de Portici, La= (=Masaniello=), 496

Muff, 816

_Mühlmann_, 272, 830

MÜLLER, WENZEL, 46

_Muratore_, 564, 575, 761

_Murska, Ilma di_, 45

Musetta, 643 ff.

Mustapha, Baba, 771

_Muzio_, 516

Mylio, 727

Myrto, 757

=Mystères d'Isis, Les=, 45, 51

N

Nachtigall, Conrad, 246 ff.

=Nachtlager in Granada, Das=, 80

Nadir, 604

Naiad, 15, 814

Nancy, 546 ff.

Nangis, Raoul de, 504 ff.

_Nannetti_, 440

Naoia, 833

Napoleon Bonaparte, 707 ff.

Narbal, 541

Narraboth, 801

Narr'Havas, 752

=Natomah=, 837

Natomah, 838

=Navarraise, La=, 605, 728, 745

Nedda, 608, 628

Neipperg, Count de, 707 ff.

Nelusko, 523 ff.

Nemorino, 335 ff.

Nereno, 475 ff.

=Nerone= (=Nero=), 480

NESSLER, VIKTOR E., 784

_Neuendorff, Adolff_, 107, 162, 163

_Neumann, Angelo_ (Director), 140

Nevers, Adolar de, 69 ff.

Nevers, Count de, 504 ff.

=Nibelungen, Der Ring des=, 139 ff.

=Nibelung, The, Dramas=, 87, 88

Nicias, 732

Nick, 674 ff.

Nicklausse, 724

NICOLAI, OTTO, 80, 466

_Nicolay, Mr._, 837

_Nicolini_, 575

_Niemann_, 62, 89, 140, 207, 227

Nikitin, (Michael), 822

Nilakantha, 724

_Nilsson, Christine_, 117, 402, 416, 475, 483, 503, 546, 562, 580, 585

Ninus, Ghost of, 310 ff.

Noémie, 745

_Nordica, Lillian_, 45, 140, 227, 482, 503, 523

Norina, 372 ff.

=Norma=, 318, 325

Norma, 326 ff.

Norman, 343 ff.

Normanno, 343

NOSSIG, ALFRED (Librettist), 830

Nourabad, 604

_Nourrit_, 13, 313, 501

_Novara_, 475, 483, 562

=Nozze di Figaro, Le=, 23, 24, 309, 376, 493, 808

Nureddin, 771

O

_Ober, Margarete_, 482, 772, 807, 843

=Oberon=, 63

Oberthal, Count, 516 ff.

Ochs, Baron, 807

Octavian, 807

OFFENBACH, JACQUES, 723

Olga, 825

Olga, Countess, 720

Olympia, 724

Onegin, Eugen, 825

Ophelia, 585

=Oracola, L'=, 686 ff.

Orestes, 18, 20, 804

Orfeo, 8, 9, 13, 14

=Orfeo ed Euridice=, 4, 5, 6, 8, 9, 20, 77, 493

Orlando, 765

Oroe, 310 ff.

Oros, 831

Oroveso, 326 ff.

Orsini, Maffio, 339 ff.

Orsino, Paolo, 94 ff.

Ortel, Hermann, 246 ff.

Orti, 764

Ortrud, 117 ff.

Osaka, 620 ff.

Oscar (Edgardo), 427 ff.

Ostasio, 680 ff.

=Othello=, 7, 376, 458, 480

Othello, 458 ff.

Ottavio, 704 ff.

Ottavio, Don, 31 ff.

Ottokar, Prince, 63 ff.

=Ory, Comte=, 294

P

PADEREWSKI, IGNACE JAN, 830

PAËR, 55

Page, Mistress, 466 ff.

=Pagliacci, I=, 608, 618, 626, 628, 698

PAISIELLO, 300

Palm, Giovanni, 721

_Paltrinieri, Giordano_, 765

Pamina, 45 ff.

Pandolfe, 745

Pantalis, 475 ff.

Pantalone, 704 ff.

Pantasille, 765

Pantheus, 539, 541

Paolo, 680 ff.

Papagena, 46 ff.

Papageno, 45 ff.

_Pappenheim_, 163

Paquiro, 849

_Parepa-Rosa_, 503

Paris, Count, 575 ff.

PARKER, HORATIO, 832, 840

Parpignol, 643 ff.

=Parsifal=, 90, 119, 247, 272

Parsifal, 272 ff.

_Pasquali, di_, 372

=Pasquale, Don=, 334, 372

Pasquale, Don, 372 ff.

PASQUÉ, ERNST, 76

_Patti, Adelina_, 295, 305, 308, 309, 319, 343, 354, 355, 367, 377, 388, 416, 531, 546, 564, 725, 742

_Patti, Carlotta_, 45

Pauloff, Stephen, 836

_Pearman_, 23

=Pêcheurs de Perles, Les=, 603 ff.

Pedro, 743, 793

Pedro, Don, 31, 523, 538

Pelléas, 752 ff.

=Pelléas et Mélisande=, 2, 752

PEPOLI, COUNT (Librettist), 329

Peralta, Father, 837

PERI, JACOPO, 4

PERINET (Librettist), 46

_Perini, Flora_, 765

PERIQUET, FERNANDO (Librettist), 850

_Perozzi, Signor_, 333

PERRIER, MARTIAL (Librettist), 764

_Persiani_, 343

=Pescatori di Perle=, 603

_Peschka-Leutner_, 306

Peter, 779

Peters, 721

Peter the Great, 530

Petruchio, 772

_Pettigiani_, 523

Phanuel, 749

Phenice, 14 ff.

Philine, 581 ff.

Philip, 834

Philip II., 438

_Phillipps, Thomas_, 23, 295, 308

Philodème, 756 ff.

PIAVE, FRANCESCO MARIA (Librettist), 377, 386, 416, 718

PICCINI, NICOLA, 8, 9, 20

_Piccolomini_, 416

Pico, 838

Pierre, 767

Pierrot, 367 ff.

Pimen, 822 ff.

_Pini-Corsi, Antonio_, 372, 776

_Pinkert_, 329

Pinkerton, Kate, 665 ff.

Pinkerton, Lieutenant B.F., 665 ff.

=Pipe of Desire, The=, 833

=Pique-Dame=, 827

Pistacchio, Don Hannibal, 375

Pistol, 466 ff.

Pizarro, 54 ff.

_Placide, Mr._, 62

_Plançon, Pol_, 359, 427, 475, 482, 503, 516, 565, 587, 715, 745

Plummer, Edward, 775

Plunkett, 564 ff.

Pogner, Veit, 246 ff.

Polkan, Voevoda, 829

Pollione, 326 ff.

Polonius, 586

Polyxena, 539

Pomone, 765

Pompeo, 536 ff.

PONCHIELLI, AMILCARE, 480, 481, 638

_Ponselle, Rosa_, 836

_Ponziani, Felice_, 32

PORDES-MILO (Librettist), 781

=Postillon de Longumeau, Le=, 497

Poussette, 736 ff.

Prefect, 367 ff.

_Preisch, Mr._, 837

Prêtre, Le Grand, 756 ff.

_Preusser, Felix_, 163

Priam, 539

Procida, Giovanni di, 436 ff.

=Prodigal Son, The=, 481

=Prophète, Le=, 500, 504, 516, 731

_Pruette, William_, 612

PUCCINI, GIACOMO, 1, 7, 91, 482, 607, 638, 643, 652

_Puente, Del_, 117, 437, 483

Puiset, Eglantine de, 69 ff.

=Puritani, I=, 318, 329

PUSHKIN (Librettist), 822

Pylades, 182 ff.

Q

=Quichotte, Don=, 743 ff.

Quichotte, Don, 743 ff.

Quickly, Dame, 466 ff.

QUINALT, FRANÇOIS (Librettist), 14, 17

Quintus, 840

R

RABAUD, HENRI, 763

Rachel, 498

Rafaele, 699 ff.

=Raggio di Luna=, 689

Ragueneau, 841

Raimbaut, 501

Raimondo, 343

Raimondo, 94 ff.

Raimondo, King, 625 ff.

_Raisa, Rosa_, 625

Rambaldo, 676 ff.

RAMEAU, 1, 21

Ramphis, 439

Rance, Jack, 674 ff.

Rangoni, 822

_Rappold, Marie_, 18, 772

Ratmir, 818

Ratsalteste, Der, 776

Raymond, 343 ff.

=Rédemption, La=, 561

_Reichmann_, 272

=Reine Fiammette, La=, 765

_Reiner, Marcel_, 776

Reinhart (Renato), 427 ff.

_Reiss, Albert_, 52, 375, 665, 674, 765, 772, 776, 807, 843

_Renaud, Maurice_, 45, 387, 475, 543, 747, 749

Renaud (Rinaldo), 15 ff.

Repela, 793

Retz, de, 504

REYER, 752

Rhadames, 439 ff.

=Rheingold, Das=, 87, 89, 139, 148

Rhinedaughters, 89, 141

Rhodis, 757

Riccardo, Don, 377 ff.

RICCI, FEDERICO, 718

RICCI, LUIGI, 718

RICCORDI, TITO (Librettist), 680

Richard, Count of Warwick, 427 ff.

Richard II., King, 843

RICHEPIN, JEAN (Librettist), 766

_Richings_, 319

_Richter, Hans_ (Director), 89, 107, 246

Ricke, 721

=Rienzi, der Letzte der Tribune=, 84, 94, 98, 109, 118

Rienzi, Cola, 94 ff.

RIESE, WILHELM FRIEDRICH (Librettist), 546

=Rigoletto=, 7, 376, 386, 426, 438, 466, 471, 602

Rigoletto, 386 ff.

_Rimini, Giacomo_, 720

RIMSKY-KORSAKOFF, 828

=Rinegata, La=, 343

=Ring Dramas, The=, 91, 119, 122, 247

_Rioton, Miss_, 750

=Rip Van Winkle=, 689

RIVAS, DUKE OF (Librettist), 437

Robert, 639

Robert, Duke, 501, 799

Roberti, 653 ff.

=Robert le Diable=, 498, 500, 504, 510

Robertson, Sir Benno, 330 ff.

Robin, 466 ff.

_Robinson, Adolf_, 107, 117, 208, 227

Rocco, 54, 699

ROCHE, HENRI PIERRE (Librettist), 764

Roderigo, 459 ff.

Rodolpho, Count, 319, 434

Rodrigo, 742

Rodrigo, Marquis de Posa, 438

Rodriguez, 744

=Roi d'Ys, Le=, 727

=Roland of Berlin=, 628

ROMANI, FELICE (Librettist), 318, 325, 335, 339

Romeo, 575 ff.

=Roméo et Juliette=, 561, 574

_Ronconi, Mlle._, 580

_Ronconi_, 387

=Rondine, La=, 639, 676

ROQUETTE, OTTO (Librettist), 769

_Rosa, Parepa_, 546

Rosario, 850

Rosaura, 704 ff.

=Rosenkavalier, Der=, 376, 759, 807

Rose, 725

ROSENFELD, SYDNEY, 374

Rosette, 736 ff.

_Rosick, Signor_, 295

Rosina, 295, 306, 308

ROSMER, ERNST (Librettist), 776

Rossa, La, 708 ff.

ROSSI, GAETANO (Librettist), 309, 367

_Rossi, Giulio_, 335, 844

ROSSINI, GIOACHINO ANTONIO, 1, 22, 25, 293, 307, 309, 312, 334, 426, 493, 494, 498, 510, 608

_Rothier, Léon_, 762, 765

Roucher, 713 ff.

Roustan, 707 ff.

Rouvel, Baron, 720

Roxana, 841

ROYER, ALPHONSE (Librettist), 359

_Roze, Marie_, 736

Rozenn, 727

_Rubini_, 45, 329

Rudolph, 313, 643

Ruedi, 313 ff.

Rufina, 716 ff.

_Ruffo, Titta_, 387, 475, 585, 717

Ruggero, 676 ff.

=Ruin of Athens, The=, 56

Ruiz, 402 ff.

_Russitano_, 466

Russlan, 818

=Russlan und Ludmilla=, 818

Rustighello, 339 ff.

_Ruysdael, Basil_, 769, 772, 844

S

SABINA, R. (Librettist), 815

Sachs, Hans, 145, 246

=Sacrifice, The=, 832

SAGANA, LUIGI (Librettist), 704

St. Bris, Count de, 504 ff.

=St. Elizabeth=, 769

ST. GEORGE, 559

SAINT-SAËNS, 725

=Salammbô=, 752

Salammbô, 752

_Saléza, Albert_, 575, 587, 715, 752

_Salignac, Mr._, 752

SALIERI, 24, 466

=Salome=, 769, 800

Salome, 749, 801

Saluce, Marquis de, 728

_Salvi_, 502, 516

Salviati, Cardinal, 536 ff.

_Salvini-Donatelli_, 417

Samaritana, 680 ff.

_Sammarco, Mr._, 458, 705, 837

_Sammares_, 699

Samson, 725

=Samson et Dalila=, 14, 725

Samuel, 427 ff.

Sancho, 743 ff.

_Sänger_, 227

_Sanderson, Sibyl_, 736, 741

=Sans-Gêne, Madame=, 707 ff.

Sante, 705

_Santley_, 503, 562, 585

Santuzza, 612 ff.

_Saporiti, Teresa_, 32

=Sapho=, 561, 728, 749

Sarastro, 45 ff.

SARDOU (Librettist), 728, 761

Saretsky, 825

Satan, 728

=Sauteriot, Le=, 764

Savoie, Euryanthe de, 69 ff.

_Scalchi_, 309, 458, 466, 483, 562, 580

Scaramuccio, 814

_Scaria_, 272

SCARLATTI, ALESSANDRO, 5

Scarpia, Baron, 652 ff.

Schaunard, 643 ff.

=Schauspieldirektor, Der=, 52

_Scheff, Fritzi_, 23, 830

_Schefsky, Fräulein_, 89

Schicchi, 679

SCHIKANEDER, EMANUEL (Librettist), 45, 46, 55

SCHILLER (Librettist), 434, 437

_Schlegel, Carl_, 769, 835, 844

_Schlosser_, 89

Schmidt, 713 ff.

Schneider, Der, 776

_Schott, Anton_, 107, 163, 497, 516

Schreiber, Heinrich der, 107 ff.

_Schröder-Devrient, Mme._, 56, 84

_Schroeder-Hanfstaengl_, 516

_Schumann-Heink_, 140, 246, 340, 516, 806

Schwartz, Hans, 246 ff.

Schwerlein, Martha, 562 ff.

Sciarrone, 653 ff.

_Scolara_, 440

_Scotti, Antonio_, 23, 45, 335, 372, 427, 458, 466, 504, 620, 640, 652, 665, 686, 705, 752

SCRIBE (Librettist), 436, 495, 498, 501, 503, 516, 523, 528

=Segreto di Susanna, Il=, 698, 705

_Seidl, Anton_ (Director), 62, 69, 117, 140, 227, 246, 255

_Seidl-Kraus_, 107, 117, 163, 191, 207, 246

Selika, 523 ff.

Sélysette, 759 ff.

_Sembach, Johannes_, 18, 772, 843

_Sembrich_, 23, 45, 295, 306, 319, 325, 335, 343, 355, 372, 377, 416, 483, 503, 546, 565, 725, 830

=Semiramide=, 309 ff.

Semiramide, 310 ff.

Seneschal, 769

Senta, 98 ff.

Sentlinger, Ortolf, 797

Serafina, 375

Serena, 699 ff.

Séso, 757

_Setti_, 503

Sforza, Cardinal, 765

Shahabarim, 752

Shanewis, 834

=Shanewis, or The Robin Woman=, 834

Sharpless, 665 ff.

=Sheba, The Queen of=, 773

Sheba, Queen of, 773

_Sheehan, Joseph F._, 665

Shouisky, 822

=Siberia=, 714

Sid, 674 ff.

Sidonie, 14 ff.

Siebel, 562 ff.

=Siegfried=, 87, 89, 91, 140, 191

Siegfried, 89, 140, 143, 208

Sieglinde, 89, 140, 142, 146, 164

Siegmund, 89, 140, 142, 146, 163

_Siehr_, 89, 272

_Silvain_, 728

Silvan, 427 ff.

SILVESTRE, ARMAND (Librettist), 727

Silvio, 628 ff.

Siméon, 495

SIMONI, RENATO (Librettist), 707

=Singspiel=, 51

_Sinico, Mme._, 586

Siriex, de, 720

_Sizes_, 752

Skoula, 820

_Slach, Anna_, 107

_Slezak_, 458

Smaradi, 680 ff.

SMETANA, FRIEDRICH, 769, 815

Solomon, King, 773

Somarone, 538

SOMMA-SCRIBE (Librettist), 426

=Songe d'une Nuit d'Été, Le=, 467

=Sonnambula, La=, 7, 318, 331, 376, 426, 608

SONNLEITHNER, JOSEPH (Librettist), 54, 55

Sonora, 674 ff.

_Sontag_, 355

Sophie, 748, 807

Sophie, Landgravine, 769

Spalanzani, 724

Sparafucile, 386 ff.

_Sparkes, Lenore_, 765

Spendius, 752

Spielmann, Der, 776

Splendiano, 605

SPOHR, LUDWIG, 79

Spoletta, 653 ff.

SPONTINI, GASPARO, 80

Springer, 816

Stackareff, Count, 836

_Stagno_, 483

Stallmagd, Die, 776

Stapps, 721

STASSOFF (Librettist), 819

_Staudigl_, 163

Stchelakov, Andrey, 822

_Steffanone_, 402, 501, 503, 516

Stella, 699, 724

STERBINI, CESARE (Librettist), 295

_Stockton, Fanny_, 562

Stolzing, Walther von, 246 ff.

_Storchio_, 665

_Strakosch, Max_ (Director), 440

STRAUSS, JOHANN, 808

STRAUSS, RICHARD, 7, 20, 32, 306, 769, 796, 798, 800, 804, 807, 813

_Stritt_, 117, 246

SUARATONI (Librettist), 618

Sulamith, 773

Sulpice, 355 ff.

_Sulzer, Henrietta_, 562

_Sundelius, Marie_, 834, 844

=Suor Angelica=, 677

Susanna, 23 ff.

_Susini_, 326

Suzanne, Countess, 705

Suzel, 619 ff.

Suzuki, 665 ff.

Sviatoslav, Prince, 820

Svietosar, 818

_Szamozy, Elsa_, 665

T

=Tabarro, Il=, 677

Tackleton, 775

_Tagliafico_, 516

_Taglioni_, 501

_Talazac, M._, 724

Talbot, Lord Arthur, 330 ff.

_Tamagno_, 313, 458

_Tamburini_, 329, 374

=Taming of the Shrew, The=, 772

Tamino, 45 ff.

=Tancredi=, 12, 294, 307

=Tannhäuser=, 68, 69, 79, 85, 86, 88, 99, 106, 118, 226, 303, 516

Tannhäuser, 107 ff.

Tan Taanach, 752

TARGIONI-TOGGETTI, GIOVANNI (Librettist), 612

_Taskin, M._, 724

Tatiana, 825

Tavannes, 504 ff.

Tchernomor, 819

_Teal, Jeannie_, 612

_Tegani, Riccardo_, 844

Tell, William, 313 ff.

=Temple Dancer, The=, 834

=Templer und die Judin, Der=, 79

Tenebrun, 744

Teresa, 319, 536

_Ternina, Milka_, 140, 227, 272, 652

_Tetrazzini, Luisa_, 295, 319, 325, 329, 343, 355, 388, 416, 458, 531, 725

=Thaïs=, 728, 731

Thaïs, 732

Thallus, Primus, 788

Thérèse, 779

Thoas, 18 ff.

THOMAS, AMBROISE, 580, 585, 586

Thore, 504 ff.

=Three Pintos, The=, 76

THUILLE, LUDWIG, 791

_Tichatschek_, 84

_Tietjens_, 306, 339

_Tiffany, Marie_, 765, 844

Timon, 756 ff.

Tio Lucas, 793

Titurel, 272 ff.

Toinet, 767

Toinette, 708, 767

Tolak, 767

Tom (Tommaso), 427 ff.

Tomaso, 832

Tomes, Dr., 706

=Tommaso Chatterton=, 626

Tonio, 355, 628, 716

Tonuelo, 793

_Torriani, Mlle._, 440

=Torvaldo e Dorliska=, 300

=Tosca=, 638, 644, 652

Tosca, Floria, 652 ff.

_Toscanini_ (Director), 705

=Traviata, La=, 376, 416, 438, 471

Trebelli, 475, 581

TREITSCHKE, GEORG FRIEDRICH (Librettist), 54, 56

_Trentini_, 602

Trim, 674 ff.

Trine, 764

Triquet, 825

Tristan, 227 ff.

=Tristan und Isolde=, 87, 88, 91, 119, 227, 247, 335

=Trompeter von Säkkingen, Der=, 784

Trouble (Cio-Cio-San's child), 665 ff.

=Trovatore, Il=, 376, 402, 471

=Troyens à Carthage=, 540 ff.

=Troyens, Les, La Prise de Troie=, 539 ff.

Truffaldin, 814

TSCHAIKOWSKY, MODESTE (Librettist), 825, 827

TSCHAIKOWSKY, PETER ILITSCH, 825, 827

Turiddu, 609, 612

Tybalt, 575 ff.

U

Ubalde, 15 ff.

_Ugalde, Mlle. Marguerite_, 724

Ulana, 831

Ulrica, 427 ff.

=Undine=, 80

_Unger_, 89

Urbain, 504 ff.

Urok, 831

Ursula, 538

Utobal, 495

V

_Valda, Giulia_, 434

Valentine, 504, 562

Valéry, Violetta, 416 ff.

=Valkyr, The=, 89, 91

_Valleria_, 475

Valois, Elizabeth de, 438

Valois, Marguerite de, 504 ff.

_Valtellino, Signor_, 333

Valzacchi, 807

=Vampyr, Der=, 79

_Van Dyck_, 140

Vannard, 622 ff.

_Van Rooy_, 140, 246, 272

_Van Zandt, Miss_, 725

_Varesi_, 417

Varlaam, 822

Vasari, 765

Vasco Da Gama, 523 ff.

VAUCAIRE (Librettist), 716

Vecchio, Cecco del, 94 ff.

Venus, 107 ff.

=Vêpres Siciliennes, Les=, 440

VERDI, GIUSEPPE, 1, 6, 7, 22, 90, 91, 334, 376, 377, 386, 402, 416, 426, 436, 481, 493, 494, 608, 638, 847

=Verkaufte Braut, Die=, 815

VERNOY, BAYARD (Librettist), 355

VERNOY, JULES H. (Librettist), 355, 559

Verona, Duke of, 575 ff.

=Versiegelt=, 781

=Vestale, La=, 80

_Vestivalli_, 309, 402

_Viardot-Garcia, Pauline_, 13, 44, 305, 516

_Vicini_, 434

=Vieil Aigle, Le=, 767

_Vietti_, 503

_Villani, Louise_, 690

=Villi, Le=, 639 ff.

Vinaigre, 707 ff.

Viola, 765

Violette, 765

Violine, 765

=Viscardello=, 402

Vitellozzo, 339 ff.

_Vogel_, 89

Vogelgesang, Kunz, 246 ff.

Vogelweide, von der, 107 ff.

VON BREUNING, STEPHAN (Librettist), 56

_von Bülow, Hans_ (Director), 227, 246, 535

VON CHEZY, HELMINE (Librettist), 69

_von Doenhof, Helen_, 612

von Faninal, 807

VON FLOTOW, FRIEDRICH, 546, 559

von Gundelfingen, Schweiker, 797

VON HOFMANNSTHAL, HUGO (Librettist), 804, 807, 813

_von Milde_, 227

von Schönau, Baron, 784

von Werdenberg, Princess, 807

von Wildenstein, Count, 784

VON WOLZOGEN, ERNST, 796

W

_Wachtel, Theodore_, 496, 497, 503

WAEZ, GUSTAVE (Librettist), 359

=Waffenschmied, Der=, 80

Wagner, 475, 562

WAGNER, RICHARD, 6, 8, 68, 71, 79, 81, 86, 90, 98, 106, 117, 118, 139, 148, 163, 191, 207, 227, 293, 459, 481, 483, 494, 562, 626, 759, 769, 803, 807, 847

_Walker, Edyth_, 482

=Walküre, Die=, 7, 87, 139, 163 ff.

Wallace, Jake, 675 ff.

Wälse, 142 ff.

Walter, 720

Walter, Count, 434 ff.

_Walter, Edna_, 776

Walton, Lord Gautier, 329 ff.

Walton, Sir George, 329 ff.

Waltraute, 89, 140, 208

_Warwick, Veni_, 765

WEBER, CARL MARIA VON, 63, 68, 76, 77, 79, 493, 562

_Weckerin, Fräulein_, 89

_Weil_, 18, 807

Wellgunde, 148, 208

Wenzel, 816

=Werther=, 747

Werther, 748

WETTE, ADELHEID (Librettist), 778

_White, Carolina_, 699, 705

_White, Phillis_, 765

_Whitehill, Clarence_, 246, 769, 772

_Wickham, Florence_, 776

WIDMANN, VICTOR (Librettist), 772

Wilhelm, 584 ff., 724

=Wildschütz, Der=, 80

=William Tell=, 498, 510

Willmers, Frau, 781

WILLNER, M. (Librettist), 775

_Winckelmann_, 272

Win-San-Lui, 686 ff.

Win-She, 686 ff.

Wirt, Der, 776

Wirtstochter, Die, 776

Woglinde, 148, 208

WOLF-FERRARI, ERMANO, 607, 698

WOLF, HUGO, 792

_Wood, Mr._, 319, 501

_Wood, Mrs._, 319, 501

Worms, Carl, 721

Wotan, 89, 140, 141, 148, 164

Wowkle, 675 ff.

Wulf, 639

X

Xenia, 822

Ximenes, Don Roldano, 718 ff.

Y

Yakuside, 665 ff.

Yamadori, Prince, 665 ff.

Yaroslavna, Princess, 820

Yeletsky, Prince, 828

Ygraine, 759 ff.

Yniold, 753 ff.

Yoga, 835

_Yppolito, G._, 562

Z

Zaccaria, Franco, 762

Zacharias, 516 ff.

_Zamboni_, 301

Zamiel, 64 ff.

=Zampa=, 497

ZANARDINI (Librettist), 720

ZANDONAI, RICCARDO, 607, 680, 716

=Zanetto=, 611

ZANGARINI, C. (Librettist), 674, 699, 716

ZANONI, CAMILLO (Librettist), 686

=Zauberflöte, Die=, 51, 493

=Zaza=, 628

_Zenatello_, 458, 665

Zerbinetta, 814

Zerlina, 31, 36

Zina, 767

Zitterbart, 787

Zorn, Balthazar, 246 ff.

Zuàne, 482 ff.

Zucarraga, 746

_Zucchi_, 523

Zuniga, 587 ff.

Zurga, 604

Zweter, Reinmar von, 107 ff.

My Path Through Life

By Lilli Lehmann

Translated from the German by Alice Benedict Seligman

_8o. About 500 pp. With 50 Illustrations_

Mme. Lehmann gives us a volume of memoirs, musical and personal, which will command the attention of the world-wide public which this great singer has charmed. The book is written with her characteristic sincerity and frankness. She unfolds the complete story of her life, devoting a generous measure of attention to her friends and rivals upon the operatic stage.

Her achievements in Prague, Leipsic, Vienna, and elsewhere, her struggles in Berlin, her extended tours in Europe and America, are fascinatingly told. She presents an account of her collaborations with Wagner at Bayreuth, and tells of her experiences at Court.

The pleasant as well as the arduous aspects of the artist's career are presented with a wealth of anecdote.

G.P. Putnam's Sons New York London

_"Clear in construction, direct in purpose, and written with intellectual calm, yet with the enthusiasm of a musician."--N.Y. Sun._

The Life of Johann Sebastian Bach

BY

Sir Hubert Parry, M.A., Mus. Doc., D.C.L.

Professor of Music, Oxford; Director of Royal College of Music

Author of "Studies of Great Composers," "Evolution of the Art of Music," etc.

_8vo. With Portraits._

Sir Hubert Parry's _Johann Sebastian Bach, Composer_, is at once a biography and a critical and historical study of the achievements of the great eighteenth-century composer, director, and performer upon the organ and piano. The eminence of Sir Hubert Parry himself as a composer and as a writer and student of music needs no comment here. For the last decade he has been professor of music at Oxford. Considering the importance of the man who is the subject of this life, and the authority of Sir Hubert Parry as a critic and writer, no student of music can afford to be a stranger to this thorough and comprehensive work.

G.P. Putnam's Sons New York London

Memoirs of a Prima Donna

By Clara Louise Kellogg

(Mme. Strakosch)

_8o. With 48 Illustrations._

Clara Louise Kellogg, who is now Clara Louise Strakosch, was the first American prima donna to win recognition abroad. After making her début in opera at the Academy of Music, in New York, in 1861, she appeared in opera in London and later in Berlin, Vienna, and Saint Petersburg. In every country she was received with acclaim and returned to her native land covered with honors showered upon her by the best audiences that the old world affords.

Miss Kellogg created the rôle of Marguerite in Gounod's _Faust_ in this country, and of Mignon in Ambroise Thomas's opera of that name. After winning laurels in Italian opera she organized an English opera company of her own, which sang for several seasons in New York and the principal cities of the United States. While at the head of her own company she produced Wagner's _Flying Dutchman_ for the first time in America, creating the rôle of Senta, and she was the first prima donna to sing _Aïda_ and _Carmen_ in English. Miss Kellogg was famous not only for the beautiful quality of her voice but for her marvelous musical ear. It is said that there were over forty operas that she could sing on twenty-four hours' notice, and that never once in the course of her operatic career had she been known to sing a fraction of a tone off the key.

These Memoirs are filled with anecdotes of the interesting people whom she met, on and off the stage, and contain a fund of information about voice culture and the study of music that no one interested in the subject can read without profit.

G.P. Putnam's Sons New York London

_An Ideal Biography_

Richard Wagner

His Life and His Dramas

A Biographical Study of the Man and an Explanation of His Work

By

W.J. Henderson

Author of "The Story of Music," "Preludes and Studies," "What Is Good Music," etc.

The purpose of this book is to supply Wagner-lovers with a single work which shall meet all their needs. The author has told the story of Wagner's life, explained his artistic aims, given the history of each of his great works, examined its literary sources, shown how Wagner utilized them, surveyed the musical plan of each drama, and set forth the meaning and purpose of its principal ideas. The volume has been prepared with great care and no little labor, and is not intended to be critical, but is designed to be expository. It aims to help the Wagner-lover to a thorough knowledge and understanding of the man and his works.

"An exposition rather than a criticism of Wagner's art, for in Wagner's case it is peculiarly true that any biographical study of the man is inseparable from an explanation of his works. Mr. Henderson's

## book is intended to help the lover of Wagner to a thorough knowledge

and understanding both of the man and his works. Nothing in the English language, at least, has ever so fully covered the subject."--_Review of Reviews._

G.P. PUTNAM'S SONS New York London