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June 22, ; produced at St. The opera haa always been a favorite one in America, and holdi the Metropolitan Opera record for the largest number of performances. In Caruso made his first appearance at the Metropolitan as Rhadama. A highly impressive open air prO' duction was given in at the foot of the pyramids of Egypt.
Elaritone ns. Captains, Soldiers. No work of Verdi's has proved more popular than Aida,with the possible excep- tion of Trovatore. AlJa, daughter of Amonatm, King of Ethiopia, has been captured by the Elgyptiana and is a slave at the Court of Memphis, where she and the young soldier Rhadama have fallen in love with each other. Rhadama goes to the Efnptian war, and during his absence the King's daughter, Amntiit, discovers his attachment and is furious, as she herself loves Rhadama.
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Tenor In Italian inGh. The King and hia guards enter and receive a messenger, who reports that Egypt has invaded by the Ethiopian army, under the command of Amanaim. Ritoma vincitor Retium Victorious! Og Keliirr daughter To thi bosD m of he r.
Railfia, the High Priest, and the priesti and , have aaaembled to bleaa he expedition. The chant in piaiae of Pich ia heard bom an inviaible choir. Rhadamet enten and receivea the conaecialed veil. Tenor: Perello de SepiroU. While loud our songs of praise resound Whose deeds the Ed ipse his daziltng Hiine. What sav'st thou? Poor Aids! The grief Amneris menacingly : Which weighs down thy heart I share with Tremble! I read thy secret, thee. Thou lov'st him!
AiDA aside : I love him too— dost thou hear? Oh I love immortal! Sweetest delirium, dark doubts and woes! Ah, what have I said? This death-like pallor, this strong emotion, 'Tis true I adore him with boundless love. Plainly reveal the fever of love! Amneris: To Aida, cunningly : Tremble, vile minion! Among the braves who fouRht so well. Warrant of death this love shall betoken! If thou canst contend with me!
The King and his court are assembled on a magnificent throne to receive the conquering army. A splendid chorus is sung by people and priests. The Egyptian troops, preceded by trumpeters, enter, followed by chariots of war, ensigns, statues of the gods, dancing girls carrying treasures, and finally RhaJames, under a canopy borne by twelve slaves; the procession headed by bands of musicians playing the famous Triumphal March.
I salute thee. Now ask of me What thou most wishest. The prisoners enter, including Amonasro, who is dressed as an officer. Amonasro then sings his recital : Amonasro: I am her father. I went to war, Was conquered, and death I sought in vain. At mv feet, in the dust extended. Lay the King, transfixed by many wounds; If the love of country is a crime We are all criminals — all ready to die! Turning to the King unth a supplicating accent But thou. O King, thou powerful lord. Be merciful to these men!
The people and prisoners appeal to the King for mercy, while the priests demand that the captives be put to death. Rhadames, seeing the hesitation of the King, reminds him of his promise, and demands life and liberty for the captured Ethiopians. The King yields, stipulating only that Aida and her father be held as hostages, and then announces that Rhadames shall have the hand of Amneris as his reward.
The magnificent finale then follows, Aida and Rhadames gazing at each other in despair, Amneris glorying in her triumph, and Amonasro swearing secret vengeance against his captors. O tu che sei d'Oaiiide Oh. Soprano By Lucy Iiabelle Marih O ban belovei O sldH mise of bapp ' days Where calm and peacetul my dawn at lile now hope is haniah'd, 1 pa»'d o'er, dispelling. O bills of verdure, O perfum'd wateti flowing. O home beloved, I ne'r AlJa ii about to depart when she ia aitonithed to aee her father.
Ilia daughter with her love foe hia enemy Rhadama, telling her i Helellah and yonder. The daughter of the Pharaa An infamous race, abhorred Then delay nol- In f. Egyptian legioni With lire destroy our My daughter Don thou call Ihrtelf? AiDA urriftd und lupplianl On the cities of the vanquished— Scelh thou? Dost thou undecati Horrorl What dost thou counsel me? I shall hear atl. Cunreals himitlf amenff thi palm lr«i. Willi a mote limpid effulgence. Amonatn, who has overheaid, now entera, and Rhadamtt ii horrified at the knowledge that he has betrayed the army to the King of Ethiopia.
Mad with jealous, she rushes in and denounces the guilty trio. Alda and Amonatn escape but RhaJamtM ia taken in custody as a traitor. To death, lo death! Rhadamei enters, and the first great duet of the act occurs. He acomi her pioposBl, reaolving to die rather than be falie to hit Elthiopian PrinceM. The Buarda a the judgment root dramatic and impreaaive one.
Ohimel Motir tni sento Ah. Thr vvicr ef Ramft Ian bt hnrd within. PrietU of Heaven, a crime you have enacted, On the guillles your sentence will falll Tigeci even in bloodsbed exulting, Pbiesti: IDtfianinff tietrlr. None can bia doom recall!
Ahoee, iht Itmpit full of llghl, lehat the eaanenlet amUrtat bnmalaile In Ihe tanclaaiy of fAe Indlfftnnt godt ; bebu, lioo human belngi dglng in each oilier 'm ami. Soprano, and Enrico Caniao. Tenor fn Ilallan Above we aee the aplendid Temple of Ptah, when prieata and prieateaaea are chanting theii atrange aonga.
Vr« ireboded thi lamb thai sb,. Thou art too lorelyl AiDA Iratutcriidy-. Tenor In Italian inGb. Condemned to e See. Brightly opens i ,50 eternal glow I iCattaln nshadow'd. Act II Hurtado Broa. Marimba BandyS» inch. Marfmta Band] 1. First produced at La Scala, Milan, March 28, Produced in Paris, June 3, Revived in by Hammerstein's Company.
The story tells of Andrea Chenler, a patriot, poet and dreamer, who was bom in Con- stantinople, coming to Paris for his education. The Revolution was in full swing, and being a worshipper of liberty he took vigorous sides, and was arrested, and finally guillotined in Instead, he sharply criticises the aristocracy, and speaks of the pride of the rich and its effect upon the poor.
Andrea, however, tells Roueher that he has a rendezvous that evening with an unknown lady, and the latter begs him not to go. As darkness falls Madeleine appears and begs Chenier to save her from Gerard, They avow their love and are about to fly together when Gerard intercepts them and tries to drag Madeleine away, but Roueher interferes and escorts the girl to her home, while Chenier and Gerard draw their swords.
Gerard is wounded, and warns Chenier that he is proscribed and begs him to save Madeleine. Chenier flees and the mob surrounds the wounded Gerard, whOe he declares his assailant is unknown to him. The spy urges him to denounce Chenier, and after much hesitation he consents to draw up the necessary papers. He signs them and hands them to the spy, when Madeleine appears and offers herself in exchange for Andrea's life. Gerard is touched by the young girl's grief, and when Andrea is denounced as a traitor, testifies for him, but the people insist upon the death sentence.
Lazare writing verses by the light of a lamp. He sings his poem to the bare walls of his cell. Gerard conducts her to Andrea and then goes to appeal to Robespierre. The lovers cling to each other and when the death wagon comes for Andrea, Madeleine goes to the guillotine to die with him. Muricby Rowini. FirM presented at Rome, February 5. The opera waa at first called "AlmavivB," to diatinguiah il from Paiaiello'a "Barber.
At Paris, in Italian, ; in French. Pint production in Ceimany at Brunnvick, Produced ai Vienna. March 9. Rossini's opera is a marvel of rapid composition, having been written in about fifteen days This seems almost incredible, but the fact is well authenticated.
While the opera did not achieve an instantaneous success, it gtaduallyfound favor because of its brightness and humor. The plot of "Barber" ia very simple. The Count Almatfoa loves Roilna. Bartolo, a crusty old bachelor who secretly wishes to wed her himself. Abnacfea pcnuades the village barber. Figaro, to arrange a meeting for him, and gains entrance to the house diaguised as a dragoon, but is arrested by the guardian.
Not discouiaged, he reluma. The appearance of the real Don BaMllo apoils the plan, and the Count retreats for the second lime, having, however, arranged a plan for elopement. Burtolo finally arouses Ratlna't jealousy by pretending that the Count loves another, and she promises to forget him and many her guardian. When the time for the elopement arrives she meets the Count, intending to reproach him, but he convinces Vker of the treachery of Bartolo, and the lovers are wedded by a notaiy, just as Barlolo airivea with officera to arrest the Count.
Accom- Eanied by the mandolins, he singa a seiensde, which faila to ring a leaponae from the window, but the Count still lingers. Figaro unmlingt hiaguitsrand sings that gayest and mort difficult of all airs, the joy or despair of baritones the world over. Figaro now aaya that he ia expecting a military friend to arrive in the villBge.
Barlolo ia telling Batllio that he wiahea to marry hia ward, either by love or force. Batlllo promiaea to help him, and aaya that the Count ia trying to make fioafno'a acquaintance. They decide o inven aome atoty that will diagrace him. La calunnia Slander's Whisper How sofllY «w«l along the ground. Its Km still vnict is heard around. Thus wilt Iht voice o calumny. More subtle than the plaintive sigh.
Figaro lella her hia name ia Llndor, and that he ia madly in love witt certain young lady, whoae name it Roalna. Dunque io son What t I? Bartoio cornea in and accuaea Rotina o dropping a note from the balcony, and ivhen ahe denies it he ahoiva her ink marka on her finger and calla attention to a cut pen and a missing sheet of paper. She aaya ahe wrapped up aome aweetmenta to aend to a girl friend, and cut the pen to design a flower for her embroidery. Barlalo then denounce! He puahet his way in, and insiata that the commandant haa ordered biro to put up in fiorfofo'i house.
Gaetano Pini-Cof fi. A knocking is heatd and the Count is again uiheied in. He greets Barloio, heginning the duet. S5 BarUJo says he is much obliged for these kind wishes and wonders who this can be. The Count explains that Don Batilio is.
He shows Bartolo the note Railna had written, saying he found it at the inn, and offers to make RoMlna believe the Count has shown her note to another tady. Bartolo is pleased with the idea and calls Railna. Then occurs the celebrated "Lesson Scene" in which Rotlna usually interpolates an air. Itoaaini wrote a trio for this scene, but in some manner it was lost Bartolo, and inthecourseof the scene contrives to secure the key to the balcony. At ihismomentallatepet. Figaro sees that quick action is necessary and asks him what he means by coming out with such a fever.
Den Batllla partially compre- hends the situation, looks at the purse and departs. The shaving is renewed, and RoMlna andtheCountpretend tocon. The thre purple with rage. Don Barloto now deapeiately plays hit last caid. Ratlna is furious and offers to marry Bartolo at once, telling him that he can have Undor and Figaro arrested when they arrive for the elopement. Bartolo goes after the police, and he is barely out of sight when Figaro and the Count enter by means of the key which the barber had secured.
Don Batllh, who had been sent for a notary by Borlolo, now arrives. Bailllo protests; but the sight of a pistol in the Count's hand soon silences him. Tliis scene is rudely interrupted by the arrival of Burtolo and the soldiers. The officer in charge demands the name of the Count, who now introduces Slgnor aiid Signora Abnaoloa to the company.
Bartolo philosophically decides to make the best of the matter. I underiUnd vAu. Even you too betray me! Produced at the Vienna Music Festival Firat heard in Amenca at the Metropolitan. February 19, , with Deatinn, Jam. Didur and ReiM. Marir, daughter of Kraichina, a rich peaaant, ia betrothed to Ham, her father'a aervant, but the maiden'a father haa determined she ahall marry iVtnzcl, a half-witted aon of KwKhlna't old friend.
Micha, but the girl Satly refuses to give up het old lover. Kezal finally offer! Ham three hundred crowna if he will renounce Marit. Hara finally conaenta. Marit refuses to believe that her lover has sold her for crowna. The mystery ia not explained until Micha and hia wife recognize Ham to be their long.
The famous Oottiurt is a work of delightful melody, containing parts of the natiorud aits of Bohemia. Turin, February I, , under the direction af Toacanini. At the CVki Comlqae. First U. Nosember December Produced in at the Nletropolitan. In the acenea of corelen gaiety ia interwoven a ouch of pathos; and the mutic it in turn lively and ten. RuJolph says that in order to keep them from freezing he will sacrifice the bulky manuacript of his tragedy.
Mated holds the landlord at bay until Schaunard arrives with an unexpected store of eatables. A timid knock at the door reveals the presence of Mlmi, a young girl who lives on the floor above- She has come to ask her neighbor for a light for he candle, which has gone out. Tenor In Engllih in. By Leon Campaffnola. In ifiHe of hir modal leorlf, tht managai lo l ttp oi lohlU oi inou.
TKis ia one of tKe great numbers of the opera, and alwayi aroutca an audience to a hish pitch o enthuaiatm. SO By Lueresia Bori. SO B iA.. He opens ike vrindow to speak to them, letting in a flood of moonlight which brightens the room. The Bohemiaiu go oS singing. O soave fanciulla — Duo and Finale. Soprano, and Enrico Caruso. The lovely motive with which the duet begins is associated throughout the opera with the presence of Miml, and is employed with touching effect ii Act IV.
The snow falls, workmen come and go, shivering and blowing on their cold fingen. Mimi appeeri, and aaka the officer at the gate if he will Gnd Marcef--that good and kind-hearted Etohemian painter being now located at the inn on the Orleaiu Road and painting, not landscapes, but tavern signs, in order to keep body and soul together.
Moral enten and ii surprised to see Mbnl, whom he supposes to be in Paris. Noticing that she is melancholy and apparently ill. Marcel, much troubled, goes into the inn to summon Rudolph, but before the latter comes, Miml secretes herself, and when he enters she hears him again accuse her of lickle- Mimi e una ctvetta Cold-hearted Mimi I By de Grcgorio, Casini and Ferretti IJix Italian ' in.
Soprano Italian in.. Muteila now enten and ii accuied by Mated of flirting. Bereft of their sweethearts, the young men are living sad and lonely lives, each trying to conceal from the other that he is secretly pining for the absent one. In the opening scene.
Marcel stands in front of his easel pretending to paint, while Rudolph, apparently writing, is really furtively gazing at Mimi's little pink bonnet. This scene of jollity is interrupted by the unexpected entrance of Musetta, who tells the friends that Mimi, abandoned by her viscount, has come back to die. The poor girl is brought in and laid on Rudolph 's bed, while he is distracted with grief. The friends hasten to aid her.
Marcel going for a doctor, while Colline, in order to get money to buy delicacies for the sick girl, decides to pawn his only good garment, an overcoat. He bids farewell to the coat in a pathetic song. Sono andati? Just as Mimi, in dreamy tones, recalls their first meeting in the garret, she is seized with a sudden faintness which alarms Rudolph, and he summons his friends, who are returning with delicacies for the sick girl. Are We Alone?
Campagnola and M. PirM produced at Drury Lane. London, November 27, , the coat including E-tarriaon. Rainforth, Betta, Strelton and Borrani. An Italian venion waa bmusht out at Dniiy Lane, February 6, The work, after ila English aucceaa. Thaddeus, wno has fallen in love with the young girU now tells her of his atfection, and in a melodious duet the lovers pUght their troth.
The Qfpty Queen, herself enamored of Thaddeut, is forced to unite him to Arline, but secretly plans vengeance. Her opportunity soon comes, as she contrives to have Arline accused of stealing a medallion from the young nephew of Count Amheim. Arline is arrested and taken before the Count, who in the course of the examination recog- nizes her as his daughter, from the scar made in her childhood by the wild stag.
The Queen, still bent on revenge, now enters, and in a dramatic denunciation reveals the hiding place of ThaddeuM, The Count asks for an explanation, and Arline declares she loves Thaddeus even more than her father. The Count, enraged, is about to attack Thaddeus, when the young man reveals his history and proves himself to be of noble blood.
The Count then gives his consent and all ends happily. Muaic by Modeste Mouuoigiky. Poitiona of the opera weie givea at St. Peteraburg in Febniacy. Produced at Moscow in In the orcheatrotion waa aome. Given atPaiia in Iby a Ruaaian opera compaiw.
Mouaaorgaky's maateily opera ii intenaely I Ruaaian in chantcter, and relatea actual events in the history of Ruaaia during the reign oF the Czar Fiodor. Mouaaoig- aky haa aimpUGed Pouahkin'a text somewhat, I and haa written a prologue to precede the drama, I which haa acarcely anything in common with Pouahkin'a book.
Failing to move the girl, he ap- I peals to the pretended DimlM, who ia I waiting in the garden for Marina. The I young girl appeara. Aa the stage is emptied, the village idiot is left aitting alone in the falling anow, singing a heart-rending ditty on the hopeless condition of Russia. We now see a hall in the imperial palace. CAouUtv arrives and later Borii, haggatd from the terrible visions that are haunting him. Pjmenn entera and relates a miracle which has happened at the tomb of Dimltri.
A cry of agony interrupts the old monk. It is Borit, who, feeling himself dying, aslu foi his aon, and in a few momenta expirea, begging hia son to rule wisely and always protect hia aiater. It is astonishing that so fine a work should have been neglected for nearly oity yeara — for Borii waa produced in — and the Western musical world, as one critic has aptly remarked, must have been "dozing.
Marina, the beautiful daughter of Michdt, spurred on by both love and ambition, I urges IXntlM to conapire againat the throne. Moaic by Bizet. Match 3, I87S. First London produc- tion June 22, 1S Fi«t New Orleana production, January Atnbre and Tournie.
After five yeari' neglect the Metro "all-Bbr" caat, including Farrar, Canno. Characters Don Jose. Scene and Period: StoUU. Spain; about Like Gounod and Berlioz, he won the Prix de Rome; in this case in , the year that his first opera, Docieur Miracle, was produced. Carmen was produced in , and this most Parisian of all operatic works was received at its production with a storm of abuse.
It was immoral, it was Wagnerian — the latter at that time being a deadly sin in France 1 Nevertheless, the supreme merits of Carmen have won it a place among the two or three most popular operas in the modem repertory. The talents of Bizet are shown by his remarkable lyric gifts ; the power of writing short, compact and finished numbers, full of exquisite beauty and convincing style, at the same time handling dramatic scenes with the freedom demanded by modem opera.
It was probably not a little owing to the hostile reception of this, his finest work, that its composer died three months later. The music Bizet has written, however, is likely long to survive him, and chief among the works into which he ungrudgingly poured his life's energy was Carmen. Micaela, a peasant girl whom he loved in his village home, comes hither to seek him with a message from his mother.
As Jose appears, the girls stream out from the cigarette factorv hard by, and with them their leading spirit in love and adventure. Carmen, the gypsy, reckless and bewitching. Heedless of the pressing throng of suitors, and attracted oy the handsome young soldier. Carmen throws him a flower, leaving him dazed and bewildered at her beauty and the fascinating flash of her dark eyes.
A moment later a stabbing affray with a rival factory girl leads to the gypsy's arrest, and she is placed in the care of Jose himself. A few more smiles and softly-spoken words from the fascinating Carmen, and he is persuaded to allow her to escape. There is a sudden struggle and confusion — the soldier lets go his hold — and the bird has flown I II Act II takes place in the tavem of LiUas Pastia, a resort of smugglers, gypsies and ques- tionable characters generally.
Here arrives Escamillo, the toreador, amid the acclamations of the crowd, and he, like the rest, offers his homage to Carmen. Meanwhile, the two smug, glers, Dancalro and Remendado, have an expedition afoot and need Carmen to accompany them. But she is awaiting the return of the young soldier, who, as a punishment for allow- ing her to escape, had gone to prison, and she will not depart until she has seen him. The arrival of Jose leads to an ardent love scene between the two.
Carmen dances her wild gypsy measures before him ; yet, in the midst of all, he hears the regimental trumpets sounding the retreat. While Carmen bids him remain and join her, the honor of a soldier urges him to return. The arrival of his captain, who orders him back, decides Jose. He defies his officer, who is bound by the smugglers, and deserts his regiment for Carmen.
Ill The next scene finds Jose with the smugglers in a rocky camp in the mountains. The career of a bandit, however, is one to which a soldier does not easily succumb. In the midst of this strained situation two visitors arrive: Escamillo, the toreador, who has also followed Carmen; and Micaela, with a message from Jose's dying mother. The soldier, frustrated in his attempt to kill Escamillo, cannot resist the girl's appeal and departs, promising to return later for his revenge. Carmen has returned here to witness the prowess of her new lover, and is informed by her friends that Jose, half crazed with jealousy, is watching, capable of desperate deeds.
They soon meet, and the scene between the maddened soldier and the gypsy is a short one. The jealous Jose appeals to her to return to him, but she refuses with scorn, although she knows it means death. Among the crowd which throngs the stage a young girl may be seen searching for a familiar tace. It is Micada, the maiden whom Jomc has left behind in his native village.
The soldiers accost her. She declines the invitation to remain, and departs hastily. Soprano In French inch, 1. OfC ardent homage thou'lt refuse. The men invite Ginncn lo chooae a new lover, and in reply she Rings a Rower in the face of the surprised Jok and laugh' ingly depatta. Now Mfcafla returns, and Rnda the soldier she seeks. Her song tella of the message of greeting she brings Jote torn his mother, and with it a kiaa.
Twill strength anjcourage mve thee. Here she sings the StgalJllla, a form of Spanish country dance. Bizet has given us a brilliant example in this dainty Michael Carre's words. Quickly forth tbc sipiicB ipringing. To iinct a merry, maiT round. SO einaU Werrentath.
Baritone Franceaco Citfada. Tenor By Evao Williami. And wildly called thee without avail. My love itself I cursed and hsled. Soprano In Fitach inch. Go with Ihee, far away, A deaerter! Caiuhh: ivcll. A dreamy melody given to the flute, with a pititcalo accompaniment, ia taken up by the other iaatrumenta in turn, the atringa joining in the coda.
Here occura the noua lextette, a portion of whiii ia given in the "Gema from Carmen" poge It ia evident that JoK ia already repenting nd that Carmen ia tiring of her lateat lover. Mlcatla has braved the dangers of the road to the smugglerg' retieat. Je suis Escamillo I amEscamillo! T»'fll And I will forct ibee to know And submit to the fate That both our llvei uniteil The message from his dying mother, however, decides him; ho will go, but vows to return.
US ThU short inlermezzo ii a quick bustling one, only the plaintive oboe aolo auggeat- ing the tragedy wbich is soon to occur. Outside the Plaxa Jt Tom, in Seville, an animated crowd awaita the proceuion about to enter the ring. Thii scene, as the orange scllen, hawken of fana, ices and the rest, press their wares on the waiting crowd, ii extremely gay, and aftorda welcome relief from the intensity of the drama.
He prom- ises to fight the better for her pres- ence, and she. Thia number ia full of lovely melodies and one of the most beauti- ful in the opera. As the procession passes on, the warning comes to Carmen that Jote ia here, to which she replies that she fean him not. Tenor hFnnch ineh. To each request of her lover. Carmen addi her disdainful negative, recUeaa of danger. Ccrmcn-, laat refuul. Tenor: i Hector Dufraone.
Ue t'ai inch. Given in New York October I, Del Puento n. DeMined by his father to succeed him in business, the young man rebelled, and secretly entered the Chenibini Conservatory. He began composing at an early age. Securing a libretto baaed on a simple Sicilian tale by Giovanni Verga, he com. Produced in Rome in , it created a sense- tion. CoMi'f IS9r. Tiring of her, he turns again to Lola, who aeema to encouiage him.
Sanbuia enters, and knocking at Lacia't door, asks her if she has seen Taridda. Dite, Mamma Lucia Tell Me. Mother Lucia Taridda 't mother replies that he is at Francof onte, but the jealous girl refusea to believe it. The cracking of a whip and shouts of the villagers e Aifio, who appeara and aings a merry lOng. The peasants disperse and Alfio is left with Lucia and Santuzza, When he says he has just seen Turiddu, Lacia is surprised, thinking him still at Francofonte, but at a gesture from Santuzza she keeps silent.
After Affio has entered the church, the Easter music is heard within and all kneel and join in the singing. Santuzza: Well do you know, good mother, Ere to the war he departed; Turiddu plighted to Lola his troth. Like a man true-hearted. And then, finding her wedded Loved mel — I loved him! She and Turiddu love again! I weep and I weep and I weep still! I'll see Turiddu, And humbly beg him once more To be faithful!
Luda tries to comfort her and passes into the church just as Turiddu appears. He asks Santuzza why she does not go to mass. She says she cannot, and accuses nim of treachery, which puts him in a rage, and he tells her brutally that she is now nothing to him.
Tu qui, Santuzza Thou Here, Santuzza! BesalCl, Soprano, and G. Ermolii« Soprano, and F. She entera, end divining the lituarion, ihows her power by taking TmldJa into the church with her. Ermolli, and F.
Beaala and G. Turiddu mi tolse Tonore Turiddu Forsakes Me! BeaaU andE. Ermolli and E. Comare Saata. Grateful Am I By G. Soprano, and E. After the storm and pawion of the irtt Bcene. Tenor ; E. Turlddu throws out the w A voi tutti salute Come Here. Good Friends I By Tuminello. Ravelli, Mezzo-Soprano. On account ofPaitie. For enmple, A ihould be followed by I Tenor, and La ScaU Orch.
S9 No. Mamma Lucia By C. Ravelli] r. Easter Hymn. Part I Regina Coeli [ inch. Soprano and Chorus inch. BaritoneLl inch,. SopranoJ No. SantuiiaT By Ermolli and Tuminelloi, q-. Fior di eiiKBiolo By C. Ermolli, Tuminello and Ravellibr ineh.
A Ca«a. Ravelli and Chonial No. Avoituttiaalute F. Italian Bandl, Text by Clairville and Gabet; music by Robert Planquette. It haa had no len than ii thousand performancea. Henri, the Marquli of Valient, has juit returned to his native town after an absence of many years. In the second act the ghosts ace reported to be roaming the Gistle of Valleroi. The Manptit does not credit these stories and soon discovers it is only old Gatpard, the miser, who, when found out.
Serp Jelle is there as a fine lady with Grenlcheux as her factotum. GoHip G«ld«. JaM p ulch, 1. BloriFying a famoui SpanUh hero. El Od The first American production occurred at the New Orleans Opera. First New York presentation Febniaiy 12, , whk the de Reaxkei. Spain ; Tiodflh Ctnlara warrior. The Qd promises, but ia diamayed to find hat it ia hia betrothed'a father who ia to be hia adveraaiy in the duel By accident, rather than deaign, Rodrigue killa the Coant, who expires juat aa Chlminc arrivea and sweaia to avenge hia death.
The King, however, refuaea all her entreatiea for juatice, and will not condemn Rodrigut to death; one reaaon being that the Moon ore again advancing on Spain, and the Qd ia needed to command an army which ii lo go o meet them. Before hii departure he aeeka a meeting with Chlmint, who, despite her father's death, cannot alto- gether harden her heart againal him. The Cid'i encounters with the Moora at first result diaaatroualy. Shortly thereafter the hero him- aelt appeara, and CMtnint, love or her father again uppermost, demands that he be con- demned to death.
King Ferdinand acquiesces without any real purpose of complying, and requests her lo pronounce the death sentence. In French iiich. Caruso has given the air from Act III, which Rodrigut sings alone in hia camp the night before the great battle with the Moori, giving it in the original key, which is a crucial teat for any singer.
The abort introductory recitative ia followed by a broad melodic pas- sage delivered in a truly heroic manner by this The Eiiglish text by Dr. Baker is from the Schirmer "Operatic Anthology. Thine image only stands before me.
My soul sfaall IruBt Tby love divine! Whether this is true or not the work was not given until after the composer had passed away, and was then acclaimed by critics to be one of Massenet's finest compositions. Spakqa, an Egyptian freedman, arrives and announces the coming in person of his Queen. Mark Anthony is not pleased with this visit, but when Cleopatra appears he is greatly impressed by her beauty and falls in love with her.
In spite of his orders, which call him back to Rome, he determines to accompany her back to Egypt. The couple step into a royal galley and depart for the Queen's home, to the chagrin of Spakqs, who is himself enamoured of Geopatra. The next scene occurs in a tavern in the fast quarter of Alexandria. The Queen, disguised and attended by Spakos, is there observing the dissipations of her subjects.
A com- pany of dancers appears headed by Jidamos, and Cleopatra is much attracted by him, at which Spakos flies into a jealous rage and attempts to kill the boy. Tlie crowd is about to mob these strangers when the Queen discloses her identity. Spalfot in- forms the Queen that Anthony believes her dead, which so enrages Clematra that she stabs him. Anthony, his atmy van. The following air occurs in Act II, and is sung by Anthony after he has received Enntai' news that Cleopatra has consoled herself with Spakot' love.
BtPotrogiad January, 9I0. June 2S. In the new version the text is sung in French by the vocal artists and chorus, while the action is peiformed by the ballet. He asks for advice, but the boyards seem unable to help him.
Tlie Admlogtr now appears and offers to present to the King a Golden Coclferel which will always give warning when danger! The King at first U doubtful but when the Cacitrtl proves his worth by an actual test, Dodon accepts the gift, promising the AttnUogtT anything in return that he mav demand. Tlie foolish old King becomes inhtuated, and, led on by the mocking Queen, he Is made ridiculous, singing with a cracked voice, and dancing in his clumrr fashion until he hlls exhausted.
He arrives with a Klittering letinue and Bccompanied hy the Queen, who it already much bored by her doddering manaich. As the piocenion panes by, the King, leeinii the Attmloger, aalu him to name a reward for hia gift oE the Golden Coclferel. A furious stotm threatens, and, terror stricken at what he has done, Dodon lumsto his Queen only to find that she scorns him. As the thunder rolls the Golden Cock suddenly crows, flies at the King, and drives his beak into his skull.
As Dodon falU dying the sloim breaks in all its fury and darkness. First performed December 6, In New York under Dr. Leopold Damroscli, February 12, Revived there in , with Melba, de Reszke and Renaud. First American performance of the operatic version in New York, Berlioi, disregarding Goelhe'a poem, located the opening scene on a plain in Hungary nmply to esciue the interpolation of the Rakoczy March. Here Faiul soliloquizes on the vanity of all things, while the people make merry oulaide, and the march of the soldiers makes an inspiring Rniih to tbe scene.
He is about to take poison, when the strains of the Easter hjimn come from the adjoining church and arrest his purpose. Mephiatophetea then appears and suggests that they go forth and see the world together, to which Fautt consents. In the third scene Faiat and Mtphislophelet go to a beer cellar in Leipaic, where students and soldiers are carousing.
Brander sings his song of the rat, which as in the Gounod opera, meets with but ironical praise from Mephlslophelei. We next diKover Faail aaleep in a lonely foieal on tkc buika of the Elbe, where the demon muimuri a aoftly penelratins melody into kia cbt, lulling him to slumber, while the gnomes and sylphs dsjice tkrough lis dreams, and the vision of Margutrik is seen for the first time.
The next scene corresponds to the Garden Scene of Gounod. Bass ilnFnnch 1 0-inch. OO effect of the guitar by It wi While ike sprites. The last act contains four scenes. Scene 1 shows a moonlit room wherethe unhappy Afarpferffcsinffa her lament. Summoning tke infernal steeds Vorttx and Giaour, the wild Ride to Hell commences, shown by a striking moving panorama, while at the close the angels are seen hovering above tke town to rescue the soul of the pardoned MargatHla.
Pint produced at the Optra CoiMqiK. IS40; Milan, October The hril American performance of which the author hu knowledge wa. Given by the Stralcoach Opera Co. Maretzek produced the opera just after the Civil War broke out, emphasizing the military features, with Clara Louise Kellogg as Marie.
Revived at the Metropolitan Opera House. Sergeant of the 21 « Bass Marie. Up to I S40 Doni- zetti had written no less than fifty-three operas, and during that year five new ones were created by him. Few lelody or possess a lore enlerteiningplot. The opera was first produced in at the Opira Comupte, and was the fifty-third work of Donizetti.
At first it was not a success, and it was not until after its German and Italian triumphs that French opera-goers took to the work. The young girl le- turns his affection, and they decide to appeal to Sulplzta. The Marchlonea, who had married a French army captain far beneath her own rank, imme. The marriage had been a secret one and the child was confided to her father's care at her birth. Not wishing to acknowledge this marriage even now, the Marchhneaa declares Marit to be her niece, and dismisses TonJo aa a totally unfit person to wed a high 'born maiden.
However, in the midst of all her beautiful surroundings Marie long for her sweetheart TonJo. Her mother, still pretending to be her aunt. Music by Giacoma Meyerbeer. Pint American production, November Brignoli and Amodio. Suns by lima di Muralcaat Booth'i Theatre in Other productions occurred in with Msriman and CampaninI ; and in with Patti.
Tetrazzini ; and recently by the Chicago Opera Company or Mme. Pardon dt Plotnnd afterwAda revised and renamed Dinorah. These are the principal characters. But in the music Meyerbeer has atoned for the triviality of the libretto, and the audience liateni to the delightful melodies and pays little attention to the plot. The action is laid in Brittany. ACT I As the curtain rises, Dinorah enters in her bridal dress, seeking her goat, and finding the animal aileep, sings this lullaby to him.
So lovely an air is worthy of a better ob ectl Si. Awihe her not!
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