ERO E LEANDRO

Opera in three acts by Luigi Mancinelli; libretto by Arrigo Boto.

First produced in America at the Metropolitan Opera House, March 10, 1899, with the composer conducting and the following cast: _Hero_, Mme. Eames; _Leandro_, Saleza, and Plancon as _Ariofarno_.

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

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

In the third act _Leandro_ has performed his famous swimming feat.

The lovers sing their ecstasy. Meanwhile a storm arises un.o.bserved.

The trumpet that should have been sounded by _Hero_ is sounded from the vaults beneath the tower. _Leandro_ throws himself into the h.e.l.lespont while _Ariofarno_ and his priests chide _Hero_ for her neglect as they discover its cause. A thunderbolt shatters a portion of the tower wall and _Leandro's_ body is disclosed. _Hero_ falls dying to the ground, while the archon rages.

CONCHITA

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

CHARACTERS

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

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

_Time_--The Present.

_Place_--Seville.

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

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

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

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

CRISTOFORO COLOMBO

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

CHARACTERS

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

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

_Place_--Spain and America.

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

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

CRISPINO E LA COMARE

(THE COBBLER AND THE FAIRY)

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

CHARACTERS

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

Doctors, Scholars, Citizens.

_Place_--Venice.

_Time_--Seventeenth Century.

Act I. _Crispino_, the cobbler, and _Annetta_, his wife, the ballad singer, are in sore straits. _Don Asdrubale_, their landlord, who is a miser, is about to put them out for non-payment of rent, but hints that if _Annetta_ will respond to his suit he may reconsider.

_Crispino_, in desperation, runs away, and is followed by _Annetta_.

He is about to drown himself in a well when a fairy appears to him.

She predicts that he will be a famous doctor. _Crispino_ and _Annetta_ rejoice.

Act II. _Crispino_ nails up a physician's sign. The neighbours rail, but soon a mason is brought in severely hurt, and, though the doctors fail to bring him around, _Crispino_ cures him.

Act III. _Crispino_, overbearing since his good fortune, has built a fine house. He ignores former friends and even is unkind to _Annetta_.

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

LORELEY

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

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

FEDORA

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

CHARACTERS

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

_Time_--Present.

_Place_--Paris and Switzerland.