Santuzza.
No, no. Tu-rid-du, re-main with me yet, and for-ev-er!
Love me a-gain!
How canst thou for-sake me!
No, no, Tu-rid-du!
In-to thine arms ... lov-ing a-gain,
Say thou wilt take ... me!
No, no, Tu-rid-du!
Re-main with me yet and for ev-er!
No Tu-rid-du, Tu-rid-du re-main with me ev-er!
Turiddu.
Why dost thou fol-low me?
Why dost thou watch me?
Why dost thou spy e-ven at the church-door?
Why dost thou fol-low,
Why watch me ev-er?
Santuzza.
No, no, Tu-rid-du, ri-ma-ni, ri-ma-ni an-co-ra
ab-ban-do-nar-mi dun-que tu vuo-i?
No, no, Tu-rid-du! ri-ma-(ni an)-co-ra,
dun-que tu vuo-i ab-ban-do-nar-mi?
No, no, Tu-rid-du, ri-ma-ni, ri-ma-ni an-co-ra,
no, Tu-rid-du, Tu-rid-du ri-ma-ni an-co-ra.
Turiddu.
Per-chè se-guir-mi, per-chè spi-ar-mi sul-li-mi-ta-re
fin del-la chie-sa?
Per-chè se-guir-mi per-chè spi-ar-mi?
Santuzza.
Lo! here thy San-tuz-za now doth im-plore ... thee; ...
Ah! canst thou leave me weep-ing be-fore thee!
Love thy San-tuz-za!
No, Tu-rid-du! Stay, I im-plore thee!
Oh! Tu-rid-du! No, Tu-rid-du, re-main, re-main!
No! Tu-rid-du! Ah! ... No, Tu-rid-du,
Turiddu.
Go! I re-peat it! Go! thou dost weary me!
Vain were all re-pent-ance for such of-fend-ing!
Thou shalt leave me!
Go! Go! Go! Go! ... I ... re-peat-it;
Santuzza.
La! tu-a San-tuz-za pian (ge e) t'im-plo-ra ...
co-me cac-ciar-la co-sì tu puo-i, la tua San-tuz-za! no,
Tu-rid-du! ri-ma-(ni an) co-ra!
Oh! Tu-rid-du! no, Tu-rid-du, ri-ma-(ni an)-cor. no!
Tu-rid-du! Ah! ... no,
Turiddu.
va ti ri-pe-to, va non te-diar-mi, pen-tir-(si è)
va-no do-po l'of-fe-sa.
non te-diar-mi
va! va! va! va ... ti ...
Santuzza.
re-main, re-main, I im-plore thee, a-gain!
Turiddu.
Go, I tell thee; vain were re-pent-ing, vain were re-pent-ing,
for all thy of-fend-ing, all thy of-fend-ing!
Go! go! go!
Santuzza.
No, no, no! See, thy San-tuz-za
Now doth im-plore thee,
Ah! canst thou leave me, thus weep-ing be-fore thee!
Lo! thy San-tuz-za now doth im-plore thee!
Ah! canst thou leave me?
Ah! canst thou leave me?
Turiddu.
Go! I re-peat it! Go!
Vain were re-pen-tance for such of-fend-ing.
Go! Go!
Santuzza.
Tu-rid-du, ri-ma-ni, ri-ma-(ni an)-co-ra, an-cor.
no! no! no! la tua San-tuz-za va-no, do-po - l'of-fe-sa.
pian(ge e) t'im-plo-ra, co-me cac-ciar-la,
co-me cac-ciar-la tu puo-i?
La tua San-tuz-za piange (e e) t'im-plo-ra
co-me cac-ciar-la? co-sì tu puo-i
Turiddu.
ri-pe-to non te-diar-mi, pen-tir-(si è) va-no,
do-po l'of-fe-sa pen-tir-si è va-no do-po l'of-fe-sa.
va! va! va! va, ti ri-pe-to, va, va! va!
Santuzza.
Wilt thou leave me thus? Ah! ...
Then dost thou leave me,
Then dost thou leave ... me?
Ah! No! Tu-rid-du!
Re-main with me yet and for-ev-er!
I im-plore thee, do not for-sake me, Tu-rid-du!
Turiddu.
I re-peat it, Go! Ah! ...
Go! I re-peat it,
Go! I re-peat ... it! Go! ... Go!
Vain were re-pent-ance for thine of-fend-ing!
Once more do I tell thee, go!
And, for-ev-er!
Santuzza.
tu puo-i co-sì Ah! ... dun-que tu vuo-i ab-ban-do-nar-mi?
ah! no! Tu-rid-du! ri-ma-ni, ri-ma-ni an-co-ra,
dun-que vuo-i ab-ban-do-nar-mi. Tu-rid-du!
Turiddu.
ti ri-pe-to va! ah! ... va ti ri-pe-to, va, non te-diar-mi va! ...
Pen-tir-si è va-no do-po l'of-fe-sa, pen-tir-si è va-no do-po l'of-fe-sa.
Duet, Santuzza and Alfio.
(Enter, Alfio.)
Santuzza.
(Calming herself.)
Oh! doth the Saviour send thee, neighbor Alfio?
Alfio. At what point is the service?
Santuzza. 'T is now at closing.
But I tell thee Lola has gone with Turiddu!
Alfio.
(Surprised.)
What are you saying?
Santuzza. While thou dost labor to earn an honest living,
Lola unfaithfully her love is giving.
Alfio. Ah! in the name of heaven, Santuzza, what sayest thou?
Santuzza. The truth!
Turiddu forsakes me—and he hath betrayed me!
'T was your wife who enticed him away from me!
Alfio.
(Threateningly.)
And if thou art lying
I'll have thy heart's blood!
Santuzza. Lies, as yet, my lips have never uttered.
Prone to be truthful am I.
Alfio.
(After a pause.)
Santuzza, I am thankful that you have spoken.
Santuzza. But ah! what shame!
And I have told it thee!
Alfio.
(Suddenly, in fury.)
T'is they who are shameful!
Revenge I'll have upon them!
This day and hour my wrath
Shall fall upon them!
(Sorte Alfio e s'incontra con Santuzza.)
Santuzza.
(Ad Alfio rianimandosi.)
Oh! Il Signore vi manda, compar Alfio.
Alfio.
(Tranquillo.)
A che punto è la messa?
Santuzza.
È tardi ormai, ma per voi
(Con intenzione.)
Lola è andata con Turiddu!
Alfio.
(Sorpreso.)
Che avete detto?
Santuzza. Che mentre correte
All'acqua e al vento a guadagnarvi il pane,
Lola v'adorna il tetto in malo modo!
Alfio. Ah! nel nome di Dio, Santa che dite?
Santuzza. Il ver. Turiddu mi tolse, mi tolse l'onore,
E vostra moglie lui rapiva a me!
Alfio.
(Minaccioso.)
Se voi mentite, vo' schiantarvi il core.
Santuzza. Uso a mentire il labbro mio, il labbro mio non è!
Per la vergogna mia, pel mio dolore
La trista verità—vi dissi, ahimè!
Alfio.
(Dopo un poco di pausa.)
Comare Santa, allor grato vi sono.
Santuzza. Infame io son che vi partai così!
Alfio. Infami loro, ad essi non perdono
Vendetta avrò pria che tramonti il dì!
Io sangue voglio, all'ira m'abbandono,
In odio tutto l'amor mio finì!
(Escono.)
Intermezzo
Chorus and Brindisi.
(The people enter from the church. Lucia crosses and enters the inn.)
Chorus of men.
(sotto voce.)
Now homeward, now homeward ye neighbors,
Good cheer is awaiting there;
And wives our joy will share,
Now Easter day shall be for all a time of rest,
Without sorrow or care.
Chorus of women.
(Lola and Turiddu come from the church.)
Turiddu. My pretty Lola! Have you not a greeting,
When honest people we are meeting?
Lola. I must leave thee.
I must go and welcome Alfio!
Turiddu. Here he will seek thee.
Do not hasten!
(To the people.)
Meanwhile, good friends, come hither.
(All come forward.)
We'll try the merry wine!
(All take cups from the bar of the inn.)
Chorus. Welcome!
Turiddu.
(To Lola.)
To those who love you!
(Drinks.)
Chorus. Drink it!
Lola.
(To Turiddu.)
May fortune give you favor!
(Drinks.)
Chorus. Drink it!
Turiddu. We will!
Chorus. Welcome! and drink!
(All drink.)
Come, let us drink another!
All. Come, drink; yes, let us drink another!
Hail! the ruby wine now flowing, etc.
Turiddu.
Hail! the ru-by wine now flow-ing, Bright-ly in the cup now show-ing,
Mer-ry spell up-on you throw-ing, Like a smile from hap-py love
Hail! the ru-by wine now flow-ing, Bright-ly in the cup now show-ing,
(Tutti escono di chiesa. Lucia attraversa la scena ed entra in casa. A gruppi sotto voce fra loro.)
Coro.(Uomini.)
A casa, a casa, amici, ove ci aspettano
Le nostre donne, andiam,
Or che letizia rasserena gli animi.
Coro.(Donne.)
A casa, a casa, amiche, ecc.
[Lola e Turiddu escono dalla chiesa.]
Turiddu. Comare Lola, ve ne andante via
Senza nemmeno salutare?
Lola. Vado a casa; Non ho visto compar Alfio!
Turiddu. Non ci pensate, verrà in piazza.
(Rivolgendosi al Coro che s'avvia.)
Intanto, amici, qua,
Beviamone un bicchiere.
(Tutti si avvicinano alla tavola dell' osteria e prendono in mano i bicchieri.)
Coro. Viva, beviam! Rinnovisi la giostra!
Turiddu.
(A Lola.)
Ai vostri amori!
(Beve.)
Lola.
(A Turiddu.)
Alla fortuna vostra!
(Beve.)
Turiddu. Beviam!
Lola, Turiddu e Coro. Beviam, beviam! rinnovisi la giostra!
Turiddu.
Vi-(va il) vi-no spu-meg-gian-te, nel bic-chie-re scin-til-lan-te
Come il ri-so dell' A-man-te; mi-(te in)-fon-(de il) giu-bi-lo.
vi-va il vi-no spu-meg-gian-te, nel bic-chie-re -scin-til-lan-te
Turiddu.
Mer-ry spell around you throw-ing,
Like the smile of hap-py love!
Hail! ah, wine so rich-ly gleam-ing!
In thy crim-son joy is beam-ing!
All thy com-fort lend us,
With thy cheer at-tend us—
Hope and love! ...
Hail! ah, wine so rich-ly gleam-ing!
In thy crim-son joy is beam-ing!
All thy com-fort lend us,
With thy cheer at-tend us—Hope and love!
co(me-il) ri-so dell' a-man-te, mi-(te in)-fon-(de il) giu-bi-lo!
Vi-(va il) vi-no ch'è sin-ce-ro che (ci al)-lie-ta o-gni pen-sie-ro,
e (che af) fo-ga l'u-mor ne-ro nell' eb-brez-za ten-e-ra....
Vi(va il) vi-no ch'è sin-ce-ro che (ci al)-lie-ta o-gni pen-sie-ro,
e (che af) fo-ga l'u-mor ne-ro nell' eb-brez-za ten-e-ra.
Alfio. Unto all of you, greeting!
Chorus. Neighbor Alfio, greeting!
Turiddu.
(To Alfio.)
Hearty welcome!
Now join with us in revel.
(Fills a glass for him.)
Look you! drink you this measure!
Alfio. Thank you! but I must refuse the offer!
A cup of deadly poison perhaps you proffer!
Turiddu. Then suit your pleasure!
(Throws away the wine.)
Lola. Ah me! what now befalls!
(Some of the women consult together, and then approach Lola, saying:)
Neighbor Lola, come, haste away from here!
(Exit, all the women, with Lola.)
Turiddu.
(To Alfio.)
Perhaps you have something to tell me!
Alfio. I? nothing!
Turiddu. Then hear me!
You will find me at your service!
Alfio. This moment?
Turiddu. This moment!
(They embrace, Turiddu bites Alfio's ear, viciously.)
Alfio. Neighbor Turiddu, you give a ready challenge!
And I accept it! you understand me!
Turiddu. Neighbor Alfio!
I own thou shouldst have vengeance,
And I admit, in the name that is holy,
That I should be dealt with as a dog, by thee!
But, shouldst thou kill me—if I perish
By thine arm—yes, if I perish,—
Unhappy Santa, she whom I have cherished—
Lone, unhappy Santa, my dagger
Will embed within thy heart!
Alfio. Good neighbor, act upon it as may suit you!
You will find me yonder in the orchard.
(Exit.)
Turiddu.
(Calling.)
My mother!
(Enter Lucia.)
Mother! the wine-cup too freely passes!
Exciting, crazing!
Too many cups I have been drinking!
——I must leave you, good mother!
But first let me ask for a kindly blessing,
As on that day when I became a soldier.
And, mother, hear me—and heed it:
If I return not, thou unto my Santa
Must be a kindly mother!
Santa, whom I promised I would lead to the altar!
—If I return—
Lucia. Why say you this to me?
What is it? tell me!
Turiddu. Ha—nothing!
'Tis wine—that I have drunk so freely.
—For me oh! pray to heaven,
That I may be forgiven!
One kiss, one kiss, my mother!
And yet—and yet another!
Farewell!
(Rushes off, desperately.)
Lucia. Turiddu! Ah!
(Retires to back of stage, crying.)
(Enter, Santuzza.)
Santuzza!
Santuzza. Ah! good mother!
(Throws her arms around Lucia's neck.)
(People crowd upon the stage.)
(Excitement and agitation.)
(Enter a woman in the distance crying, "Neighbor Turiddu is murdered.")
(Several women hastily enter, terrified.
One of them shrieks—)
"Neighbor Turiddu is murdered."
(All rush upon the stage.)
All. Ah!
(Santuzza falls; swooning. Lucia faints, and is supported by some of the women.)
THE CURTAIN FALLS RAPIDLY.
(Entra Alfio.)
Alfio. A voi tutti salute.
Coro. Compar Alfio, salute.
Turiddu. Benvenuto! con noi dovete bere,
(Empie un bicchiere.)
Ecco pieno è il bicchiere.
(Troncando.)
Alfio. Grazie, ma il vostro vino io non l'accetto,
Diverrebbe veleno entro il mio petto!
Turiddu.
(Parlato.)
A piacer vostro.
(Getto il vino.)
Lola. Ahimè che mai sarà?
(Alcune donne nel Coro si consigliano fra loro poi si av vicinano a Lola dicendole sotto voce.)
Coro. Comare Lola, andiamo via di qua.
(Tutte le donne escono conducendo Lola.)
Turiddu. Avete altro a dirmi?
Alfio. Io nulla.
Turiddu. Allota sono agli ordini vostri—
Alfio. Or ora?
Turiddu. Or ora!
(Si abbracciano. Turiddu morde l'orecchio destro di Alfio.)
Alfio. Compar Turiddu, a vete morso, a buono!
(Con intenzione.)
Cintenderemo bene a quel che pare!
Turiddu. Compar Alfio.
Lo so che il torto è mio;
E ve lo giuro nel nome di Dio
Che al par d'un cane mi farei sgozzar—
Ma s'io non vivo,
(Dolorosamente.)
Resta abbandonata povera Santa!
Lei che mi s'è data!
(Con impeto.)
Vi saprò in core il ferro mio piantar!
Alfio.
(Freddamente.)
Compare fate come più vi piace,
Io v'aspetto qui fuori dietro l'orto.
(Esce.)
Turiddu.
(Chiamando.)
Mamma—
(Entra Lucia.)
Mamma—quel vino è generoso,
E certo oggi troppi bicchier
Ne ho traccannati—
Vado fuori all' aperto—
Ma prima voglio che mi benedite—
Come quel giorno che partii soldato:
E poi mamma,
Sentite, s'io non tornassi—
Voi dovrete fare da madre a Santa,
Ch'io le avea giurato di condurla all' altare.
Lucia. Perchè parli cosi, figliolo mio?
Turiddu.
(Con disinvoltura.)
Oh! nulla, è il vino che m'ha suggerito!
M'ha suggerito il vino—
Per me pregate Iddio,
Un bacio mamma! un altro bacio
Addio!
(Fugge disperatamente.)
Lucia. Turiddu! che vuoi dire!
(Va in fondo alla scena a disperatamente chiama.)
Turiddu! Turiddu! ah!
(Entra Santuzza.)
Santuzza.
Santuzza. Oh! madre mia!
(Le getta le braccia al colla. La scena si popolo. L'agitazione si scorge sul volto di tutti. Che scambievolmente s'interrogano con terrore. Si ode un mormorio confuso da lontano. Una donna sola, assai lontano, gridando.)
Hanno ammazzato compare Turiddu!
(Si sentono delle voci confuse più vicine. Alcune donne entrano atterrite correndo, ed una di esse grida disperatamente.)
Hanno ammazzato compare Turiddu!
(Tutti si precipitano sulla scena.)
Santuzza, Lucia e Coro.
(Gridando.)
Ah!
(Santuzza cade priva di sensi, Lucia sviene ed è sorretta dalle donne del Coro. Tutti restano atterriti.)
CALA RAPIDAMENTE LA TELA.
Edited by
DR. F. MELIUS CHRISTIANSEN and NOBLE CAIN
For Mixed Voices Price, in Boards, $1.00
Outstanding choral compositions of Bach, Brahms, Gibbons, Kopolyoff, Lassus, Morley, Palestrina, Pearsall, Praetorius, Purcell, Rachmaninoff, Rimsky-Korsakoff, Sibelius, Tchaikovsky, Vittoria, Wilbye, and Zolotarieff; a few folk melodies, and a negro spiritual.
This notable collection of twenty-seven choruses, one hundred and twenty-eight music pages, contains sixteen secular numbers and eleven sacred. The names of the distinguished editors are a guarantee of the high quality of the book. Care has been taken to avoid music of more than average difficulty, or of extreme vocal range.
Every number was chosen because of its intrinsic beauty as well as singableness. The interesting Foreword by the managing editor records the development of a cappella music in this country.
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Edited by
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For Mixed Voices Price, in Boards, $1.00
Contains one hundred and twenty-eight pages of music, an elaborate and helpful Foreword, and Hints for the Singers by Dr. Hollis Dann.
Of the fifty-one musical numbers, forty-two are secular and nine are sacred. More than half are made available in a cappella form for the first time.
As the best possible preparation for acquiring independent movement of voices accustomed only to part-songs that move solidly together, the book opens with fifteen canons, rounds, and catches by Byrd, Hayes, Haydn, Hilton, Purcell, and others. These are followed by two canzonets of Morley (two-part) and three-part (S. A. B.) choruses by Shield and Ford and arrangements of folksongs. The body of the book consists of four-part madrigals, folksongs, two Negro spirituals, and other choruses. Several five-part songs are included. Morley, Weelkes, Pilkington, Bennet, Gevaert, Lully, Praetorius, Mozart, Bortniansky, Archangelsky, Sibelius, and others are represented.
While the musical standard of the editors is high, pains have been taken to selectmusic that not only is suitable in range and text for junior choruses, but is hearty, joyous, and singable.
This truly significant volume will fill a great need, and be the happiest possible introduction to the art of unaccompanied chorus singing.
Each number is also issued separately
WRITTEN FOR
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BIZET, GEORGES
Choral Fantasia from Carmen (Arranged by N. Clifford Page).50
No opera has more numbers that are known and loved for their piquant rhythms and exquisite melodies than Bizet's masterpiece. It teems with color and life. The editor has introduced all the best of these and in the logical order in which they appear in the score. Solos, trios and choruses are all present in an easy choral arrangement, which closes brilliantly with the famous Toreador March.
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Choral Fantasia from Faust (Arranged by N. Clifford Page).50
The arranger has cleverly contrived that all the best known solos, concerted numbers and chorus are included in this fantasia, in the order in which they appear in the opera. All are treated chorally, and difficulties are so treated that high schools and popular choruses may perform the work.
COERNE, LOUIS ADOLPHE
Skipper Ireson's Ride (Cantata for Mixed Voices).30
To Whittier's stirring ballad, based on a quaint incident in an old New England past, the composer has made attractive and ingenious music, especially adapted for performance by schools and amateur societies.
HOSMER, E. S.
Columbus (Cantata for Mixed Voices) (Also issued for Men's Voices).40
A short and easy work, the music melodious though not without dramatic touches. It calls for a solo baritone. The part writing makes large use of unisons, and awkward progressions have been avoided.
(Also issued for men's voices)
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An altogether sane, balanced and practical text book by one of America's eminent authorities on the voice. It contains 132 pages of instructive text, technical exercises, melodic studies, and carefully chosen songs and duets.
The author's deep study of the voice together with his long experience in solving difficult vocal problems in the studio has enabled him to rid the subject of vagary, mystery, and uncertainty, and state the principles of voice-training so clearly and simply that they may be understood by anyone.
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AIM OF THE BOOK
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A List of Victor Record Illustrations to accompany Music Appreciation, by Clarence C. Hamilton, A. M., Professor of Music at Wellesley College, has been prepared by the Educational Department of the Victor Talking Machine Company, and will be sent free to any address, on request, by Oliver Ditson Company.
BOSTON: OLIVER DITSON COMPANY
NEW YORK: CHAS. H. DITSON & CO. CHICAGO: LYON & HEALY
MADE IN U. S. A.
NEW AND REVISED EDITION, COMPLETE IN ONE BOOK
THE TEXT HAS BEEN ENTIRELY REWRITTEN
Price, $2.25
Postage extra, except in first and second zones from Boston and New York
¶ This work is based upon the principles of the Old Italian Singing-masters, and deals with Breath Control, Production of Voice, and Register. The Management of the Breath, the Vocal Organ, the Jaw, Soft Palate, Lips and Face, Eyes, Attack and Legato Tone, the Three Registers of the Voice, Force, Intensity, and Expression are illustrated by many cuts and exercises.
COMMENTS OF THE PRESS
¶ We find a logical, clear, precise, and well ordered system in the work which must commend it to all who study it.—Musical Courier.
¶ This book will be made one of the useful "tools of the trade" by many intelligent and progressive teachers.—Philadelphia Public Ledger.
¶ A careful examination of contents will tend to give any earnest student an even higher estimate of the worth of Shakespeare and his famous method.—Music News.
¶ Mr. Shakespeare has for so long been regarded as one of the most capable singing teachers in England that his latest work is entitled to respect.—New Music Review.
¶ William Shakespeare has long been one of the most distinguished English teachers of singing; and this book in which he has embodied his method of teaching is highly regarded by singers.—New York Times.
¶ It is based on the principles of the old Italian singing-masters and deals with breath control and production of the voice together with exercise. A fine book for vocalists.—The Advance.
¶ In the midst of so much mystic and cryptic writing about the voice it is pleasant to come upon a book like this, which treats the topic from the practical teacher's standpoint.—Louis C. Elson in the Boston Daily Advertiser.
¶ Text-book on the vocal art by a well-known teacher of the old Italian method. Breath control, voice production, and other technical matters are lucidly set forth. This is the entirely rewritten edition of a popular manual.—St. Louis Globe-Democrat.
¶ The work in its present form has been entirely rewritten and is a clear and complete statement of the subject, from both the theoretical and the practical standpoint.—New Orleans Daily Picayune.
¶ The author's aim to make an intelligible and useful record of the old truths and conditions concerning his art has been ably carried out and the book will be of great assistance to singers.—Chicago Daily News.
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VALUABLE FEATURES
1. Advice for organizing and conducting groups.
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3. Sixteen representative works by Bach, Bortniansky, Byrd, Farmer, Ford, Gascongne, Gibbons, Jannequin, Lassus, Morley, Palestrina, Praetorius, Purcell, and Tchaikovsky.
4. Vocal phonetics of the text printed with the regular text in the music. With the right vocal effect in the mind's eye, good voice production comes naturally, and an artistic choral effect results.
5. No extremes in vocal range are demanded of any voice, careful provision being made for average young voices.
6. A special chapter on each of the choruses for analysis, technique, interpretation, and appreciation.
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All librettos have English text. Additional texts are indicated by Italic letters, as follows: I, Italian; G, German; F, French. Those marked with (*) contain no music. All the others have the music of the principal airs.
PRICE, 30 CENTS EACH, NET.
| Title | Text | Composer |
| A - G | ||
| Africaine, L' | I. | Giacomo Meyerbeer |
| Aïda | I. | Giuseppe Verdi |
| Armide | F. | C. W. von Gluck |
| Ballo in Maschera, Un | ||
| (The Masked Ball) | I. | Giuseppe Verdi |
| Barbe-Bleue | ||
| (Blue Beard) | F. | Jacques Offenbach |
| Barbiere di Siviglia, Il | ||
| (Barber of Seville) | I. | Gioacchino A. Rossini |
| Bartered Bride | G. | Frederich Smetana |
| Belle Hélèna, La | F. | Jacques Offenbach |
| Bells of Corneville | ||
| (Chimes of Normandy) | Robert Planquette | |
| *Billee Taylor | Edward Solomon | |
| *Boccaccio | Franz von Suppé | |
| Bohemian Girl, The | Michael Wm. Balfe | |
| do. | I. | do. |
| Carmen | F. | Georges Bizet |
| do. | I. | do. |
| Cavalleria Rusticana | I. | Pietro Mascagni |
| Chimes of Normandy | ||
| (Bells of Corneville) | Robert Planquette | |
| Cleopatra's Night | Henry Hadley | |
| Contes d'Hoffmann, Les | ||
| (Tales of Hoffmann) | F. | Jacques Offenbach |
| Crispino e la Comare | ||
| (The Cobbler and the Fairy) | I. | Luigi and F. Ricci |
| Crown Diamonds, The | F. | D. F. E. Auber |
| Dame Blanche, La | F. A. Boieldieu | |
| Damnation of Faust, The | F. | Hector Berlioz |
| Dinorah | I. | Giacomo Meyerbeer |
| *Doctor of Alcantara, The | Julius Eichberg | |
| Don Giovanni | I. | W. A. Mozart |
| Don Pasquale | I. | Gaetano Donizetti |
| *Dorothy | Alfred Cellier | |
| Dumb Girl of Portici, | ||
| The (Masaniello) | I. | D. F. E. Auber |
| Elisire d'amore, L' | I. | Gaetano Donizetti |
| *Erminie | I. | Edward Jakobowski |
| Ernani | I. | Giuseppe Verdi |
| Etoile du Nord, L' | ||
| (The Star of the North) | I. | Giacomo Meyerbeer |
| Fatinitza | Franz von Suppé | |
| Faust | F. | Charles Gounod |
| do. | I. | do. |
| Favorita, La | I. | Gaetano Donizetti |
| Fidelio | G. | L. van Beethoven |
| Figlia del Reggimento, La | ||
| (Daughter of the Regiment) | I. | Gaetano Donizetti |
| Fille de Madame Angot, La | F. | Charles Lecocq |
| Flauto Magico, Il | ||
| (The Magic Flute) | I. | W. A. Mozart |
| do. | G. | do. |
| Fledermaus, Die (The Bat) | G. | Johann Strauss |
| Flying Dutchman, The | Richard Wagner | |
| do. | G. | do. |
| Fra Diavolo. | I. | D. F. E. Auber |
| Freischütz, Der | G. | Carl Maria von Weber |
| do. | I. | do. |
| *Gillette (La Belle Coquette) | Edmond Audran | |
| Gioconda, La | I. | Amilcare Ponchielli |
| Giroflé-Girofla | F. | Charles Lecocq |
| Götterdämmerung, Die | G. | Richard Wagner |
| Grand Duchess of Gerolstein, The | F. | Jacques Offenbach |
| H - Z | ||
| *Hamlet | Ambroise Thomas | |
| Jewess, The | I. | Jacques F. Halévy |
| Königin von Saba (Queen of Sheba) | G. | Karl Goldmark |
| Lakmé | I. | Léo Delibes |
| Lily of Killarney, The | Sir Jules Benedict | |
| Linda di Chamounix | I. | Gaetano Donizetti |
| Lohengrin | G. | Richard Wagner |
| do. | I. | do. |
| *Lovely Galatea, The | Franz von Suppé | |
| Lucia di Lammermoor | I. | Gaetano Donizetti |
| Lucrezia Borgia | I. | do. |
| *Madame Favart | Jacques Offenbach | |
| Manon | F. | Jules Massenet |
| Maritana | Wm. Vincent Wallace | |
| Marriage of Figaro | I. | W. A. Mozart |
| Martha | I. | Friedrich von Flotow |
| Masaniello (Dumb Girl of Portici) | I. | D. F. E. Auber |
| *Mascot, The | Edmond Audran | |
| Masked Ball | I. | Giuseppe Verdi |
| Meistersinger, Die | ||
| (The Mastersingers) | G. | Richard Wagner |
| Mefistofele | I. | Arrigo Boito |
| Merry Wives of Windsor, The | Otto Nicolai | |
| Mignon | I. | Ambroise Thomas |
| Mikado, The | Sir Arthur S. Sullivan | |
| *Nanon | Richard Genée | |
| Norma | I. | Vincenzo Bellini |
| *Olivette | Edmond Audran | |
| Orpheus | C. W. von Gluck | |
| Otello | I. | Giuseppe Verdi |
| Pagliacci, I | I. | R. Leoncavallo |
| Parsifal | G. | Richard Wagner |
| Pinafore (H. M. S.) | Sir Arthur S. Sullivan | |
| Prophète, Le | I. | Giacomo Meyerbeer |
| Puritani, I | I. | Vincenzo Bellini |
| Rheingold, Das (The Rhinegold) | G. | Richard Wagner |
| Rigoletto | I. | Giuseppe Verdi |
| Robert le Diable | I. | Giacomo Meyerbeer |
| Roméo et Julietta | F. | Charles Gounod |
| Romeo e Giulietta | I. | do. |
| Ruddigore | Sir Arthur S. Sullivan | |
| Samson et Dalila | F. | Camille Saint-Saëns |
| Semiramide | I. | Gioacchino A. Rossini |
| Siegfried | G. | Richard Wagner |
| Sonnambula, La | I. | Vincenzo Bellini |
| *Sorcerer, The | Sir Arthur S. Sullivan | |
| *Spectre Knight, The | Alfred Cellier | |
| *Stradella | Friedrich von Flotow | |
| Tannhäuser | G. | Richard Wagner |
| Traviata, La | I. | Giuseppe Verdi |
| Tristan und Isolde | G. | Richard Wagner |
| Trovatore, Il | I. | Giuseppe Verdi |
| Ugonotti, Gli (The Huguenots) | I. | Giacomo Meyerbeer |
| Verkaufte Braut, Die | ||
| (The Bartered Bride) | G. | Friedrich Smetana |
| Walküre, Die | G. | Richard Wagner |
| William Tell | I. | Gioacchino A. Rossini |
| Zauberflöte, Die | ||
| (The Magic Flute) | G. | W. A. Mozart |
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