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

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

PIQUE-DAME

THE QUEEN OF SPADES

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

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

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

LE COQ D'OR

THE GOLDEN COCK

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

CHARACTERS

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

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

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

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

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

MANRU

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

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

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

American Opera

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

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

THE SACRIFICE

Opera in three acts by Frederick Shepherd Converse.

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

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

THE PIPE OF DESIRE

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

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

SHANEWIS, OR THE ROBIN WOMAN

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

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

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

THE TEMPLE DANCER

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

CHARACTERS

TEMPLE DANCER _Soprano_ GUARD _Tenor_ YOGA _Bass_

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

THE LEGEND

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

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

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

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

NATOMAH

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

CHARACTERS

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

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

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

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

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

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

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

MONA

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

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

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

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

CYRANO

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

CHARACTERS

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