They go out, leaving the stage empty, and the beautiful Inter- meoo follows. Intermezzo By Victor Herbert's Orchestra in. H, After the storm and passion of the first scene, this lovely number comes as a blessed relief. The curtain does not fall during the playing of the Intermezzo, although the stage is empty. Tenor In Italian inch, 1. Turiddu calls to the crowd about the inn: Hail the red wine richly flowing.
In the beaker, sparkling, flowing. Like young love, with smiles bestowing. Now our holiday 'twill bless. Alfio now enters, and when Turiddu offers him a cup refuses, saying: Poison I might be drinking. Turiddu throws out the wine, saying carelessly: The seriousness of this scene is not lost on the peasants, who now leave the young men together. Kills care, banishes all troubles. Brings peace, pleasure it redoubles, Causes sweet forgetful ness! Exciting surely that wine was. I must have taken Too many cups While we were drinking!
For a stroll I am going. I have sworn to shield her And lead her to the altar. Why speakest thou so strangely? My son, oh, tell me? O pray that God forgive me! One kiss, dear mother! OO Lucia is distressed and bewildered, and calls after him despairingly. Beaalil, Soprano, and E. Ill cavatlo Bcalpita By Renzo Minolfi. First produced at the Folies Dramaliques, Paris, April It has had no less than six thousand performances, a testimony to its enduring place in popular appreciation.
The opera opens in an old Norman village, where a fair is in progress. Gaspard, the miser, has a plan for marrying his niece, Germaine, to the sheriff, but the young girl objects, telling him that if she must wed she feels it her duty to marry Grenicheux, a young villager, in gratitude for his saving her life. The Marquis does not credit these stories and soon discovers it is only old Gaspard, the miser, who, when found out, goes crazy through fear of losing the treasures he has concealed there.
Serpolelte is there as a fine lady with Grenicheux as her factotum. After a love scene between the Marquis and Germaine, it is discovered that the latter is the rightful heiress and true claimant to the title of Marchioness. The story comes to a fitting conclusion with the betrothal of the Marquis and Germaine, over whom the bells of Comeville ring out sweetlv and gludly to tell the happy news. The Victor offers three band records of the principal airs, and an unusually effective selection of five of the most popular numbers in the opera by the Victor Light Opera Company.
Leopold Damrosch in I6S0. It was given at Monte Carlo as an opera in First American performance of the operatic version in New York. Le Damnation de Fmal, his best known work, originally written as an oratorio, but which has since been adapted for the stage, was first produced in and met with a cold reception. Strange are found side by side; even the wild orgie of fiends called "Pandemonium.
We quote Berlioz himself here: Here Faiat soliloquiies on the vanity of all things, while the people make merry outside, and the match of the soldiers makes an inspiring finish to the scene. Its stirring measures so fascinated the composer that, contrary to his original intention, he laid the scene of his " Faust " legend in Hungary bi order that he might make use of this wild and pulse-quickening melody. His treatment of it is brilliant in the extreme, and it remains one of the most effective portions of his "Faust.
Delicate sentiments of friendship for the illustrious Frenchman induced me to withhold it from publication until after his death. He is about to take poison, when the strains of the Easter hymn come from the adjoining church and arrest his purpose. Mephlilophela then appears and suggests that they go forth and see the world together, to which Fauil consents. This is one of the most interesting numbers in the work, for Berlioz has described, by means of clever forms in the accompaniment, the skipping of the flea in various directions.
The words are most fantastic — Once a king, be it noted, had a fine and lusty ilea, And on this flea he doted, cherish'd him tenderly. So he sent for his tailor, and to the tailor spake: And medals deck'd his breast! Fau9t dislikes the scene, and the two vanish from the gaze of the astonished students amid a fiery glow. On this fair, fragrant bed, rest, O Faust, rest thy head- Here slumber, while lovely visions haunt thy dream Of radiant forms, rare lips and eyes that fondly beam!
The next scene corresponds to the Garden Scene of jOounod, and shows a room in Marguerite 's cottage. Ye spirits of caprice and of evil, conspire To enchant and subdue, and win a maiden soul. Now dance, ye sons of Evil, dance in the name of the devil, VVill-o'-the-wisp and gnome, dance, or away you go! Tlien follows the beautiful dance of the will-o'-the-wisps, after which Mephistopheles sings — "To this lute, I'll sing a serenade One that shall please the lady It is moral, her tastes to suit!
She Iriea to enter the church, but the influence of MtphlilopMet pteventa, and ihe returns to the house and falls into the arms of Fauil. The last act tionlairu four scenes. Scene I shows a moonlit room where the unhappy Margaerilt sings her lament. This changes to a rocky pass where MephiilopMet informs Faust that Mavuerifc is about to be executed for the murder of her mother, fousf demands that he be saved, but is first required by Mephhiophtia to sign the fatal contract which pledges his soul to the Devil.
Donizetti's Daughter is a brilliant little opera, with its rollicking songs, its drums, its vivacious heroine and its comic old Corporal. At the beginning of the opera Marie is a beautiful girl of 1 7, who had been found on the battlefield as an infemt, and brought up by Sulpizio as the daughter of the regiment. Marie is loved by Tonio, a young peasant, who had saved her life in the Alps and who follows the regiment to be near her.
The young girl returns his affec- tion, and they decide to appeal to Sulpizio. In asking for Marie's hand in marriage Tonio's suit is brought before the regiment, which decides that he may have the Vioandiire providing he joins the army, which he prompdy does. The Marchioness, who had married a French army captain far beneath her own rank, immediately rec- ognizes the young girl as her daughter. The marriage had been a secret one and the child was confided to her father's care at her birth. Her mother, still pretending to be her aunt, endeav- ors to persuade her to give up Tonio and marry the Count, but Marie flatly refuses.
In desperation the Marchioness reveals herself as the girl's own mother, and the maiden then agrees to accede to her wishes and marry the Count. Touched by Marie's filial devotion, the Marchioness consents to allow her to marry Tonio, who in the meantime, through rapid promotion, has reached a high rank in the French army under Napoleon. The Victor offers three records from this charming opera; the first being the tuneful Per vioer vidno, the song of the lover Tonio.
McCormack gives a spirited performance of this delightful Romanza. Music by Giacomo MeyetbecT. Fitil production Poiu, I8S9. Fint London production, under direction at Meyerbeer, July 26, Firat New York production. Opera Comique, , with Cordicr, Brignoli and Amodio. Although the name of Meyerbeer is usually as. Pardon dc Ploirmel afterwards revised and renamed Dlnoiab , waaat one time a favorite work with The revival of Meyerbeer's sparkling opera dtiring the last Manhattan season was most welcome, not only for its tunefulness, but because it was an ideal medium for the exhibition of Mme.
Old opera-goers in America will remember the productions of the past — that arranged for Marie Van Zandl in i Patti's famnua performance a dozen years before; and the fine impersonations of Gerster, di Murska and Marimon. But it is safe to say that no exponent of the part of the wandering Breton shepherd- ess has ever excelled Mme. Tetrazzini in the rOle. The plot is utterly absurd — its demented goat-girl, seeking a runaway loveri the lover himself, who con- trary to operatic precedent is a baritone, and wrho spends a year chasing an imaginary treasure; a weak- kneed bag-piper.
These are the principal characters. But in the music Meyerbeer has atoned for the triviality o the libretto, and the audience listens to the rADiE Its hoEl. The action is laid in Brittany. Hatl resolves to rebuild it, and goes off to seek treasure in a haunted region, while Dinorah.
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Overture By La Seals Orchestra incb, tl. So lovely an air is worthy of a better object. Huguet has sung this pretty air with charming fluency, and the record is one of the most attractive in her list. Kweet lillle birds vnur warbling cesic, Alai! Ko r yel returns' Awake her noil Yet wfler blili! The bell of Dinorali'i goal is heard, and Hoel pursues it, dragging with him the terribed CoKtillno. ACT II The second act begins with the famous shadow dance, oi which Meyerbeer has furnished some most beautiful music, Dinorah enters, and seeing her shadow in the moonlight, imagines it is a friend and sings and dances to it.
Act opens with the famous "Hunter's Song. In Fnnch lO-incb. Btirllont Grand inquisitor Belval. Bau Elizabeth de Vaudis Sau. The conduct of Don Carloa finally became so scandalous hat his father placed him under arrest and confined him in the Madrid prison, where he died in , at the age of twenty-three.
The same plot had previously been used by Bona. Naples, ; and also by FerraH. Don Carlos is not one of Verdi's papular operas, but the music is dramatic, effective and full of genuine Italian warmtti and passion, Schiller's drama has been much changed, and made to conform to the dramatic requirements of the stage and.
CaAoa hegi the Queen to obtain Phlllp'i permiuion for him j to join the Flemings in their struggle against the cruelties I of the Spaniards. Time seeRii to have but strengthened 1 the mutual affection o the pair, and the Queen is unable to conceal from Carloi the act that her love for him is greater than ever. RoJrigo visits the Prince there, and is shot by riendi of the. King, who suspect him of helping the Flemings.
Carloi is freed and goes to St. Just Monastery to keep a tryst with Ellzabtlh. The King surprises them there, and hia anger being once more aroused, he hands over Carln to the Officers of the Inquisition, who bear him away to his death aa the curtain falls. O don fatale Oh.
Firit produced at PniBue. Some notable revival, occurred in with Sembricb. Eames and Plancon, and in with Ruas. Donalda, Bonci and Renaud. The plot of ibe opera was probably founded upon a play entitled El BurtadoT de Stollla y Comireda dt pitdra, attributed to Tirso de Molina, a Spanish monk and prior oi a monastery at Madrid. This had also served as a basis for numerous other "Don Juan" plays and operas by Fabrizzi. Raimondi, Camicer and latterly Dargo- mynky, the Russian composer. It is Nighl The wicked Don Gjananni.
She cries for help and he tries to escape, but is pursued by the angry girl, who endeavors to penetrate his dis- guise. Her father comes to the rescue and is mortally wounded by the Don, who makes his escape, followed by Ltponllo, his servant. Donna Anna is overcome with grief, and charges her betrothed, Don Octaelo, to avenge her father's death. Hoping for a new conquest, the Don comes forward, hat in hand, but is surprised to find that it is Donna Elolra, a young woman whom he has lately deceived and deserted.
She denounces him for his baseness and he makes his escape, leaving Lefiorello to explain as best he can. Lepordlo rather enjoys the situation, produces his diaiy and adds to the lady's anger by reading a list of the mistresses of the Don. Then in hernia ny. Womenfolk of all conditions.
Joumet'a Leporelh is a unique perfomunci; ol its kind, and his charBcterization always stands forth as an admirable foil lo the polished villainies of the suave and distinguished Don. This great bulfo number, usually called the Calalogat Song, is full of the broadest humor, and is given by this artist with all the sly humor, gaiety, irony and sentiment which it requires.
He bids Leporello conduct the party to his palace and give them re. Maietla protests, but the Don points significantly to his sword and the bridegroom fallows the peasants. The Don then proceeds to flatter the young girl and tells her she is too beautiful for such a clown as Maiello. She is impressed and coquettes wilh him in the melodious duet.
La d Jarem, the witty phraaea and delicate harmonies of which make it one of the gems of Mozart's opera. La ci darem la mano Thy Little Hand, Love! Soprano, and Antonio Scotti. Baritone In llatlan inch. Soprano, and Titta RuSo. Baritone, and Emilia Corsi. Not leaa than four veniona, by famoua exponenia of the characters of Ztrllna and Don GiooannU are presented here. I feci my heart ShoilS'srihou prove false. Don fimvANNi; Come then, oh come then, dearest. Out joy no bounds than know! Cheannl is about to lead Zerilna away, when Donna Elaira, who haa been watching rescues the young girl and carries her off.
Donna Anna now enters with Ocfaola, who asks the help of his friend Don Glooannl in tracing the murderer of Donna Anna'i father. The Don assures them of his devotion, and goes to his palace, while Donna Anna tells her lover that she recognizes by his voice that Don Qfoaannl ia the one who slew her father. They depart, and Ltpoidio and the Don enter. The serv- ant telU his master that when Donno Elelra and Zallna arrived at the palace, and Elcira attempted to tell ihe peasants the truth about the Don, he ted her gently out- side the gate and then locked it.
He ia complimented by his master, who bids him prepare for the feast of the evening. Left alone, the gay Don sings his brilliant Drinking Song, famous in every land. The scene changes to Dan Gloeannl'j garden. Ztrilna is endeavoring to make her peace with Maaelto, but he is sulky. She then sings her lovely Baltl, batll.
Soprano UnhaUan ioch. Chide Zerlina at your will: Donna Anna, Donna Eicira and Dan Oclaoto, diiguUed and masked, enter and aing a ttio, in which ihey pledge them- Belvea to have revenge on the traitor. The scene changes to the inlerior of the palace, where the ball ia in progress. Don Giovanni continues his efforts o get Ztrllna away from her jealous and watchful lover, and finally succeeds, but ZerUna calls for help and Maaetto and the three conspirators rush to her Eusistance.
TTiey denounce Don Clooannl, who defies them with drawn sword, and makes his escape from the palace. Il it a Moonlight Night Don Giovanni, followed by his servant, enters, wrapped in a mantle and carrying a mandolin. He has heard of a pretty servant whom Donna Ehira possesses, and is plotting to get the mistress out of the way. As Elvlta sits at her window, he addresses her. While they are conversing, the Don makes a great outcry and the pair run off in fright. O0 By M, Hector Dufraane.
OO By Ciuseppi de Luca. IS'- 0, for one kiss, this soul would perish: Ruffo's impersbnation of Don Giovanni is admir- able in every respect. Scotti's rendition o this famous serenade is given by the baritone with the grace and ease which never fail him. His amours are rudely interrupted by Masttlo, who appears with a company of villagers. Then follows a aeries of amusing situationa. Ltparelto it tenilied, but the Don defiei a]l spirila and boldly in- vitei the statue to supper. The Kcne changes ta the banquet hall in the palace of the Don.
In the midst of the festivities. The gueats flee in terror, the lights go out. Lcpordio cowers in terror undei the table, but Don GlooannI is deliant until the ghost seizes hii hand, when he feels for the Rrst time a ter- rible fear. The statue sinks, flames appear on all sides, and demorj rise and seize the guilty libertine. Vtrda ; tht mlMe of iht dghlttnth ccntary. The plot ii very liRiple, and deala with the achem- ing of BtaMa, Awiuro.
Over the door of the club mny be aeen the motto, "No Women Admitled. With the help of ColoirAlna and Atlttxhlne, and by luring the keys from the pocket of one of the membeia, the ladiea Anally aucceed in making an entrance within the aacied walls, and are aurprised to find the men enjoying themselves harmlessly at dinner.
Tutta per te, mio bene Only For Thee. My Sweetheart By Geraldine Farrar. Librei Sb Marc' Anlonlo, by Camerano. First prnent January 4. Firn production in Paria in French. Fiiit London production June Kl. First New York production March 9. Recently revived at the Metropolitan with Sembrich. Bourrillon, Antonio Pini-Coni and Fomari. This brightest of genuine lyric comedies always appeals to that class of opera-goers who find the present-day comic opera or musical comedy to be cheap, gaudy and lacking in genuine humor.
Don Ptuqaatt is pure entertainment, nothing else, the true spirit of comedy being found in the music as well as the plot: Malatesta, who has promised to obtain for him a young and lovely bride. The Don is overjoyed, and insists on seeing the lady at once. When the Doctor leaves, Pasquale gives vent to his feelings in an amusing air. A fire, all unfelt before, Ah!
Sweet little bride, to me I 1 can resist no more — Yes, I am born again! By playing thus the careless, heedless hair- Of old age enfeebling me, brain, Forgoi is the misery. See what it is the wise and wary gain! Feeling still young to be — Looking off. Than twenty mucn stronger. His nephew enters, and is again urged by his uncle to give up Norina, whom the uncle calls a vain, coquettish widow. Ernesto refuses, and Don Pasquale announces his intention of marrying and disinheriting his nephew. The young man, at first incredulous, is finally convinced that his uncle is in earnest and gives way to despair, beginning his first air: Sweet holy dreams I loved to cherish Of early youth, adieu!
If I e'er long'd for riches, splendor, It was but for thee, love; But now, poor and abandoned, I, Reduc'd from my condition high. Sooner than thee in misery see, Dearest, I'll renounce thee. Before leaving his uncle, Ernesto begs him to consult Dr. Malatesta for advice, but Don Pasquale says it was the Doctor himself who proposed the plan and offered his own sister as the happy bride. Ernesto is astonished to hear that the Doctor, -who he thought was his friend, had deserted him.
Of glance well tim'd and tender, A Kiiuli- smile, born to beguile, I know — an old ofTenrlcr! A hidden tear, a languor near, I know the mnilr, oh, dear, Of love's bewitching wilt-s, llis facile arts and guiles. To lure with wanton smiles. I know the modes, oh, dear!
Norina declares she will have nothing to do with it, bidding him to read Ernesto's despairing letter, in which the young man tells her he is disinherited and will leave Rome, bidding her a last farewelL The Doctor soothes her, telling her he will induce Ernesto to remain, and then reveals the details of the plot against Don Pasqutde, in which he proposes to play on the vanity of the old bachelor, by pretending to find him a young and lovely wife.
They decide that Norina shall play the part of this girl, and go through a mock marriage with Don Pasquale. Norina is delighted and begins to rehearse her new rdle. This takes the form of a charming duet, which ends the first act and which is always greatly admired. Two records of this sprightly duet, at widely varying prices, are cataloged here. Against my lover's repose and quiet; It can't be better — all goes well!
Head turned aside — "Oh fie! Don Fasquale to deceive. Pursed-up mouth — "Ashamed am I. We're quite agreed, and I'm enlisted. Listen, and you'll all be told: You must play simplicity. Of this old fool, all sense who spurn'd; — Norina: This time the head will be quite turn'd!
I'll lessons give — leave that to me. Vado corro Haste We! She pretends to be shrinking and frightened, and the Doctor, beginning a delightfully humorous trio, the first of the concerted numbers in this act, begs her to have courage. The pretended notary now arrives, and another comical scene ensues as the mock ceremony is performed. As Norina is signing, Ernesto's voice is heard outside demanding admittance, having come to bid his uncle farewell.
The moment Norina affixes her signature to the contract her manner changes, and when Pasquale attempts to embrace her she coldly asks him not to be so rude. Pasquale is aston- ished and Ernesto laughs, which enrages the old man so that he orders his nephew from the room. Norina stops him and says that as Don Pasquale is too old, fat and feeble to attend a young wife, she must have a young cavalier to attend her, and signifies that Ernesto is her choice.
Ehn Pasquale is thunderstruck and attempts to protest, but Norina warns him that if her words are not sufficient to keep him in his place she will beat him I This is the last straw, and the bewildered old man stands in a daze, his brain refusing to comprehend what has happened! To know not if be wakes or dreams! No drop of blood runs in his veins. We shall see what's coming next! I, Don Pasquale, she'd think meet To trample underneath her feet! Norina rings a bell, summoning the servants, and announces that she is now sole mistress of the house.
She orders new servants engaged, two carriages, new furniture, etc. Don Pasquale attempts to pro- test, but is silenced, and in a voice choked with rage and astonishment begins the finale. Take heart, Pasquale, my old buck. Don't be discouraged, use your brains. Now then, at least, my worthy friend. You must begin to comprehend. I am betray'd, trod down and beat, A laughing stock to all I meet; Oh!
Now you see, ungrateful heart. How unjust was your suspicion: Love, to bring him to submission, Counsell'd me to play this part. You are justified, dear heart; Momentary my suspicion. Love, to bring him to submission, Counsell'd thee to play this part. Don Pasquale, poor, dear wight. Is nearly suffocated quite! You're a little heated, really — Do go to bed, dear Don Pasquale. I'o Norina, in a tone of reproof. On my brother-in-law to play Thus, I'll not endure, I say!
To the lovers, who are embracing behind Don Pasquale' s back. Silly ones, for Heaven's sake, pray, Don't, I beg, yourselves betray! Servants are running to and fro with bustle and excitement Don Pasquale is seen amid the confusion, looking -with utmost consternation at a huge pile of bills. He throws them dovrn in despair, and as Norina approaches resolves to make one last attempt to remain master in his own house.
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Hut there — take what you well deserve, sir! It is all over with you, Don Pasquale! All that now remains for you to do Is quietly to go and drown yourself! I must confess, 'tis rather hard a lesson; Yet was required to have its due effect. I'm going now, then — Pasquale: But do not take the trouble to return. A face of wood — a closed door, you will find. Prithee, where are you running in such haste, Young lady, may I beg you will inform me? I'm going to the theatre to divert me. But the husband, with your leave — excuse me Saying so — may perchance object to it.
The husband sees, and wisely holds his tongue: For when he speaks there's no one listens to him. Pasquale xvith rising xvarmth: Not to put me to the trial. Madame, — It is for your own good that I advise you — You'll to your chamber go, this very instant — Remain content at home — stay in the house. He is petrified to find that it reads: Thine to command — thine faithfully; — adieu. Ernesto and the Doctor enter, discussing the plot, and the young man, after being instructed to be at the garden rendezvous at nine that evening, goes out.
Pasquale returns, and going solemnly up to the Doctor, exclaims: Brother-in-law, in me, alas, you see A dead man, walking upright! Malatesta pretends to sympathize and proposes that they lie in wait for the guilty lovers that evening and teach them a severe lesson. Pasquale gloats over his coming triumph, and begins the duet. This night, without delay.
Thou must the reckoning pay! ThouMt see what little use Now will be each excuse — Useless thy tender smiles. Oh, the poor fellow! Vengeance he's prating; Let the dolt bellow — lie knows not what's waiting! He knows not he is building rare Castles in the empty air: He sees not, the simpleton — That in the trap, poor elf.
He of his own accord Now goes to throw himself! Who love too well, yet blush to tell The hopes that led their hearts astray! All now is still, on dale, on hill, And none are nigh, with curious eye; Then why, my love, oh, why delay? Your lattice open to the starry night. And with your presence make the world more bright!
Two renditions of this exquisite air are listed here, headed by Caruso's, familiar fo admirers of the great tenor. A fine record by Giorgini, a tenor now much liked in Italy, follows. Norina joins Ernesto, and they are reconciled in a duet. Pasquale and the Doctor, with dark lanterns, enter softly and hide behind the trees, but the irate old man can contain himself no longer and rushes out to denounce the lovers.
Pasquale is so beside himself with rage and chagrin that Malatesta considers it time to end the farce, and proposes to rid Pasquale of his bride by marrying her to Ernesto, revealing that the first marriage was not a real one, and that the lady was not his sister but Norina. Pasquale is so glad to be rid of such an extravagant termagant that he pardons the deception, consents to the union, and settles an income on the happy pair.
Badini, Baritone In llallan lO-inch. Music by Gaetano Donizetti. First produced in Milan in First London production December 10, First New York production in First Paris production in A little Italian village ; the nineteenth century. Adina, a lively village beauty and heiress, is loved by a young peasant, Nemorino, who although handsome and manly, is afraid to press his suit ; but while the beauty treats him rather coolly she is by no means indifferent to him.
How Lovely By Emilio Perea. While I gaze I adore more deeply; Ah! But while reading, studying, improving. She hath learning and every attainment. While I can nothing do but love! Adina then reads to her friends a legend of a cruel lady who coldly treated a knight who loved her, and only smiled on him when he gave her a love potion. Nemorino wishes he could find the receipt for this potent elixir. Martial music is heard and Belcore, a dashing sergeant stationed near the village, appears with a bouquet for Adina.
She has but few smiles for the military man, which cheers Nemorino somewhat, and when Belcore departs he renews his suit, but the fair one tells him that it is useless. A commotion among the villagers is heard, and Dulcamara, a quack doctor, comes on the scene, riding in a splendid carriage. He announces his wonderful medicines in a famous song, Udite, udite o rustici, the delight of buffos for more than eighty years.
I cure the apoplectical, The asthmatical, the paralytical, The dropsical, the diuretical, Consumption, deafness, too, The rickets and the scrofula — All evils are at once upset By this new and fashionable mode! The Doctor, of course, says that he is the original inventor of the liquid, and soon has Nemotino 's last coin in exchange for the coveted potion, which is in reality a bottle of strong wine. This scene is in the form of an amusing duet, Ohhligato.
He begins to sing and dance, and Adina, coming in, is astonished to see her love-sick swain so merry. Feeling sure that the potion will bring the lady to his feet, he pays no attention to her, which piques her so much that when the sergeant arrives and renews his suit, she consents to wed him in three days.
Nemorino laughs loudly at this, which further enrages the lady, and she sets the wedding for that very day. Tliis sobers Nemorino, who fears that the marriage may take place before the potion works, and he pleads for delay. Adina and Belcore laugh at him, and the curtain falls as preparations for the wedding are begun. The company now goes to an adjoining room to dance ; all but the Doctor, who says he doesn't know when another free dinner will come his way, and therefore remains at the feast.
Nemorino enters, distracted, and tells the Doctor that the elixir has not yet taken etfect. The Doctor tells Nemorino that this popularity is the result of the elixir he has just sold him. Adina, woman-like, when she sees her lover in such demand, promptly regrets having treated him so coldly, and runs out on the verge of tears.
Nemorino, noting her downcast looks, feels compassion for her, and gazing after her sadly, sings the lovely romanza, famous in every land. In Italian inch, 2. This is one of the most famous of the Caniso records, and his exquisite sinKing of this beautiful number is somelhing lo be long remembered. When all her love she is showing? But feel her heart against mine own, GUdly I then v,-ould die. With respect to your elixir. With a tender look I'll charm him— One more potent, sir.
Alt misunderstandings are now cleared away, and Belcore arrives to find hia bride-to-be embracing another. However, he is philosophical and saying, "There are olhcr womeni" marches off, while the villagera tell Adina and Nemorino of the latter'a good fortune. Tenor ; and Auffusto Scipioni. Firat New York pioduction. Cist of Characters Don Carlos. The first scene shows a mountain pass where Emanl'i men arc encamped. With reckless satisfaction in their lot they sing: Hia men remark at hia gloomy appearance, and he tella them that he is powerless to prevent the mar- riage of his betrothed to the aged Siloa on the morrow.
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He describes the peerless Eioiia in a fine aria. T9 The bandits offer their lives, if need be, in the service of their chief, and it ia decided to rescue Solra that night. IS EmanI, in this passionate aiia, sings of the charms of his beloved. Oh thou, my lifr's sole treasure. I lote thy starry lances. Come, come to my arms adoring. Thy smile my hear! To whom thou gav'st ihy heart! Ah; would he eame no more-wiih odious wor. Two brilliant renditiona of this famous number are given, by Mme Sembrich and Mme. Hempel; while a popular- priced record is contributed by Mme.
Grisi, of La Scala. Elvira'i ladies-in-waiting now enter, bringing her wedding gifts, and in the graceful chorus with which this record begins. The chorus joins in the concluding strain. Eloira, who has left the room with the ladies, returns and is amazed to discover in her boudoir the King, who has been secretly in love with her. She appeals to his honor, saying: She snatches a dagger from Carlos ' belt and cries: Carlos recognizes him and exclaims: Infelice e tu credevi Unhappy One!
He summons his squires and soldiers, then addresses himself to Elvira and reproaches her in this well-known and impressive Infelice, one of the most beautiful of bass arias. Four records of this favorite number are available — by Journet in both 10 and inch , by de Segurola and by Sillich. The editor regrets that he is unable to give satisfactory English translations for the ma- jority of the Ernani airs, but most of the available translations of Emani are so distorted as to be almost meaningless.
For instance, here is a specimen translation of the text of this very air of Infelice. Ah, to win, to win back summer's blossom Far congealing unto the core. In my breast were tho't too gainless. Winter lords it within this my bosom. Far congealing, far congealing to the core, Far concealing, far congealing to the core.
Unto the core, congealing unto the core I Far congealing unto the core, Now anyone who can tell just what this means is certainly a highly gifted individual I In this connection, however, it should be stated that several American music publishers are entitled to praise for their efforts to improve opera translations, especially G. The editor of this catalogue is indebted to both these firms for permission to quote from their new translations. Before they can reply, the King'a aquirea enter and aalute their aovereign. The astounded Slea, though secredy enraged, kneels to his King, aay- ing: I will savs thee!
All these arc mint — all my will must abcyl Lit ihii Irusly friend depift. From my eyes a veil bis fallen. But within il still doth smolder! The curtain falls on an impressive tableau. Ehira believes the rumors of his death and despairingly conaenla to wed Don Slloa. The company of knights and pages of Sitoa, and ladies in attendance on Elalra aing the opening chorus in praise of he nohle Sltea and his peerless bride.
TS Slloa, attired as a Grandee, enters. Emanl, disguised as a pilgrim, enters, then throws off his disguise and cKclaima, beginning this line trio: My men ate dead or in chains. My enemies are without Ihe caslle. Seize me and deliver mc up. The trio, which is one of the great scenes of the opera, then follows. Siha hides Emani in a secret passage and orders that the King be admitted. Don Carlos inquires, with irony, why Silca 's castle is so well guarded, and demands that he surrender Emani or lose his own life. The soldiers are ordered to search the casde.
This duet then occurs, beginning: I will prove, audacious greybeard. In my wrath I will destroy thee! Oh King, be just; I cannot yield! Emani refuses, saying that his life belongs to Siha, who has saved it. Siloa taunts him with cowardice and Emani consents to fight, but asks for one look at Eloira.
Siloa replies that the King has taken her away. For this magnificent num- ber Verdi has written some of his most dramatic music. Carlos con- ceals himself in the tomb of his ancestor to witness the meeting of the conspirators who are plotting against him. He is depressed and melancholy, and sings this famous O de otrd, in which he pledges himself to better deeds should the Electors, then in session, proclaim him Emperor.
The great ensemble then follows. At the same time the Electors and the King's courtiers enter from a secret door. Carlos condemns the plotters to death, when Eloira rushes to him and asks for mercy. The Emperor heeds her, pardons them all, and unites Ehira and Errumi. A chorus of ladies, masks and pages greets the happy pair. By Maria Bernacchi, Soprano: Emani awakes from his dream of bliss and recognizes the sound of his own hunting horn, which he had given to Siha as a pledge to die when the revengeful Don should demand his life.
The distracted Elvira pleads with SiliHi for her husband, but in vain. After an affecting farewell Emani fulfills nis vow, stabs himself and dies, while Eloira falls lifeless on his body. The curtain falls as the cruel and remorseless Siloa is gloat- ing over his terrible revenge.
Italian inch, 1. Tenor; and Torrea de Luna, Baaa? Baaa In Italian ]-. Ruaaitano Ford, a wealthy burgher Baritone. MEC Pace Meno-Soprano de Vigne I It wai the youthful dream of the Brist compoaer, Verdi, j to write a comic opera, but it waa not until he wai nearing eighty years of age that hia dream waa realized. The music of Falitaff denotes in all things almost the antitheais of the style andmethods and ideala of Verdi'a early operas. Thq i muaic is vivacious and sparkling, being interspersed with delightful fragments of melody. Sit]ahn Fidtlaffia a merry rogue, so conceited as to be- lieve himself irresistible to all womankind.
The two women compare the I notes and plan to punish [he Knight for presuming to address them in such terms of affection. Ford and his men, in- cluding Plllola and BarJM,. Nanella, is in love with Fenfon, but her father de- mands that she marry Dr. ForJ tells the doctor that this is a good time for him to secure NantUa, and promiaea to aid him.
In the confusion Dr. Calua mis- takes Bariolfe iot NaneOa, Ford is finally won over, and his daughter and Ftnton are happily mar- The Victor offers two very fine records of two of the best known airs from the opera: The London production, however, with Titiens, Giuglini, Trebelli, Gassier and Sontley, was quite lucceufulj and in the following June Patti sang Morgotrilt for the first time, the opera receiving a tremendous ovation. The story is familiar to almost every one and will be but briefly sketched here.
The libretto by Barbier and Carre does not attempt to follow the Goethe drama, but merely makes use of the Faait-Marguoitt incident This is sufficient, however, to provide an intensely interesting , Bubiect fot Gounod's lovely music. The fateful single note of the full OTchestm with which it opens and the mysteri- ous chromatic chords stealing in from the strings form a fitting introduction t of such unusual portent. The prelude closes with sustained chords, sole This number is rarely heard apart from the opera, and so excellent a reproduc this one by the orchestra will be highly appreciated.
The fitful light of the expiring lamp is a S3rmbol of the despair in the heart of the aged Fatal, as after a lifetime spent in the pursuit of learning, he realizes that he knows but little of true knowledge. Tired of the struggle, he resolves to end it with a poisonous draught, and raises the goblet to his lips; but pauses as the songs of the happy peasants Boat llu-ough the open window. He goes to the window, and filled with rage at the sight of human happiness, he cunes all earthly things and calls on Satan to aid him. La vaffa pupilla Rise. Ban In FnncJi io..
This wonderful piece of ral writins is reproduced in a strikins manner, and sivea a moat realistic oicture of the falsetto Kermeaae. Baritone In Italian lnch. Dear gift nf my sister. Made more holy by her pray'r. The amiUar "Cavatina" then foUowa: Ever braretl helit may swell, In the moment of farewell. Loving smile of sister kind. Quiet liome I leave behind; Oft ahall T think of you. When alone my watch I keep And my comrades lie aileep tented battleground. This rale, too often allotted to a mediocre artist, is filled by him with dignity; and he makes a serious and soldierly Valentine, singing the Although Mr.
Other fine renditions in Italian are the ones by RuSo, the famous Italian baritone, who has recently made luch a success in this country, andCigada, a well-known European baritone, who has not yet visited Le veau d'or The Calf of Gold By Pol Pluicon. MtphhU - phelia breaks in upon the revelers, and offers to sing a song of his own. Two renditions of this effective bass sons are offered by the Victor. I drink, lo you all: Whilst this blcn sign we wur. Holds up hii miord la form a crDii. Thou ansx not harm usi MephMopMei it diacomfited.
Tlie deUghtful waltz, which haa been a model of ita kind ever since the first per- formance of Faust, now begitia. Contralto In Ilallan lO-inch. The firu M cloaug the aria. Made bei an Eden-bower of beauty and delight. Marguerite enlera the garden, pen- sively dreaming of the handanme atran- ger ahe had met in the market place. She aeata heraelf at the apinning wheel and murmura dreamily: The box of jewela then calchea her eye, and after aome miigivingi ihe opens it. Can they be real? Uh nevrr in my sleep did I dream of au bt so lovely! Melba's rendition is a moat delightful one, her voice exhibiting the most entrancing smoothness; in its lovelinesa, flexibility and brilliancy it seenu absoluteW without a flaw.
Sembrich's Mmguerlte was always a fine imper- sonatjon, and her delivery of the number is exceed- ingly artistic, being one of the cleanest and most finished bits of coloiature singing ever heard in Miss Farrar's brilliBnt Marguerite has been much admired during the past few seaaoiui and this number shows well the loveliness and flexibility of her voice. A fine record at a lower price is con- tributed by Mme. Huguet, doubled with the Ker- messe record described in Act II.
MtphtiofJida then begins to flatter the vain matron and pay her mock attentions, so that Fdiul may have an opportunity to plead his cause without interrupbon. This dialoEue with the susceptible duenna furnishes the only touch of comedy in the opera. Happy will be tbc nun Whom you chDDSc for your neit!
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Ftaat urges the timid girl to taLe his arm, at which she demuni while the crafty Tempter continues his flattering attentions to MaHha. The second quartet bit then follows, closing the Quartet— Eh quoi toujours seule? She confides to him hei toncLness, and in an exquisite passage speaks of her dead sister. The record closes with the final quartet pas- sage, by far the moat effective hit of concerted writ, iog in the opera. It is magnilicently sung here, the balance of the voices being absolutely perfect.
The recording of so complex and varied a piece of concerted muaic aa ia contained in these two records is a marvelous piece of work, and one of the most amazing achievements in the reproduction of operatic music yet heard.
Melinda Skye (Author of Misdirection)
The solo, duet, and quartet parts which constitute it, the short pieces of dialogue between various persons, not forgetting the important orchestral interludes— all these are portrayed with the utmoat fidelity, making a marveloua musical picture of one of the most interesting pages of Gounod's charming score.
In this stately passage the singer drops for a time the satirical vein of the previous quartet, and gives the invo- cation with befitting solemnity and grandeur. It was high time — O night! See, 'neatn the balmy linden. Let naught waken alarm, or misgivings ever! Our lovers devoted approaching; His well! Ye flowers, aid the enchanting charm, Better leave them alone. Her senses to bewilder; till she knows not With the flow'rs and the moon. Whether she be not already in Heaven! This is the most impressive passage in the whole part of MephiMiopheles, and it is mag- nificently sung by Joumet.
The lovers appear again, and Mephistopheiea discreedy retires from view. The first part of the exquisite duet then follows. To love thy beauty too! Oh, never leave me, now, I pray thee! Does the evening bind me! Let me gaze on the form before me! And a deep languid charm While from yonder ether blue I feel without alarm. Look how the star of eve. With its melody en wind me. And all my heart subdue!
Sign in with Facebook Sign in options. Melinda Skye Goodreads Author. Romance , Fantasy , Young Adult. Hug your loved ones. Someone I ran into on Monday died on Tuesday, completely unexpectedly. He was young and vibrant and shouldn't be gone. Hug your loved ones, just so they know you care. Published on May 28, Melinda Skye Average rating: Want to Read saving…. Want to Read Currently Reading Read. Refresh and try again. Melinda is Currently Reading. Melinda Skye is currently reading.
The Demon in Me Living in Eden, 1.
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