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the succor of the distressed Reiza. The immense effect
of the scene is greatly enhanced by the descriptive instru-
mentation, especially in the allegro describing the rolling
of the billows and the recitative and succeeding andante
picturing the outburst of the sun. The mermaid's song
("Oh! 'tis pleasant"), with its wavy, flowing melody,
forms a fitting pendant to this great picture of elemen-
tary strife ; and a delicate and graceful chorus closes the
act.

The third act opens with a lovely song for Fatima (" Oh !
Araby, dear Araby"), consisting of two movements, —
an andante plaintively recalling past memories, and an
allegro ' of exquisite taste. The song, even detached



4 6o THE STANDARD OPERAS

from the opera, has always been greatly admired in
concert rooms, and, it is said, was a special favorite also
with the composer. It is followed by a duet for Sher-
asmin and Fatima ("On the Banks of sweet Garonne "),
which is of a vivacious and comic nature in Sherasmin's part,
and then passes into a tender minor as Fatima sings. The
next number is a trio for soprano, alto, and tenor (" And
must I then dissemble? "), written very much in the style
of the trio in " Der Freischutz," and yet purely original in
its effect. Reiza follows with a smooth, flowing, and
pathetic cavatina (" Mourn thou, poor Heart "), which is
succeeded in marked contrast by a joyous rondo (" I revel
in Hope ") sung by Sir Huon, The next scene is that of
Sir Huon's temptation, a voluptuous passage for ballet and
chorus, interrupted at intervals by the energetic exclama-
tions of the paladin as he successfully resists the sirens.
The gay scene leads up to the finale. Sir Huon and
Reiza are bound to the stake, surrounded by slaves sing-
ing a weird chorus. A blast from the magic horn sets
them dancing, and a quartet for the four principal charac-
ters based upon the subject of the slaves' chorus ensues.
Oberon appears and takes his leave after transporting the
whole company to the royal halls of Charlemagne. A
stirring march opens the scene, a beautiful aria by Huon
follows ("Yes! even Love to Fame must yield"), and a
chorus by the entire court closes the opera.

EURYANTHE

The opera of " Euryanthe " was written for the Karnth-
nerthor Theatre, Vienna, where it was first produced Octo-
ber 25, 1823, though not with the success which afterwards
greeted it in Berlin, owing to the Rossini craze with
which the Austrian capital was afflicted at that time. The
original cast was as follows :



WEBER 461

Euryanthe ■ Frl. Sontag.

Eglantine Frau Grunbaum.

Lysiart Herr Forti.

Adolar Herr Heitzinger.

Ludwig VI Herr Seipelt.

The libretto is by Helmine von Chezy, an eccentric
old woman who proved a sad torment to the composer.
The plot, which, is a curious mixture of " Cymbeline "
and " Lohengrin," was adapted from an old French ro-
mance, entitled "L'Histoire de Gerard de Nevers et de
la belle et vertueuse Euryanthe, sa mie," and is substan-
tially as follows :

In the palace of King Louis of France, where a brilliant
assemblage is gathered, Count Adolar sings a tribute to
the beauty and virtue of Euryanthe, his betrothed. Count
Lysiart replies with a sneer and boast that he can gain her
favor ; but Adolar challenges him to bring a proof. The
scene then changes to the castle of Nevers, and discloses
Euryanthe longing for Adolar. Eglantine, who is also in
love with Adolar, and who is conspiring against Eury-
anthe, soon joins her, and in their interview the latter
rashly discloses the secret of a neighboring tomb known
only to herself and Adolar. In this tomb rests the body
of Emma, Adolar's sister, who had killed herself, and
whose ghost had appeared to Euryanthe and her lover
with the declaration that she can never be at peace until
tears of innocence have been shed upon the ring which
was the agency employed in her death. Lysiart arrives
from court with a commission to take Euryanthe to the
King, while Eglantine is left behind in possession of the
secret.

In the second act Lysiart deplores his failure to obtain
the favor of Euryanthe ; but his hopes are renewed when
he meets Eglantine emerging from the tomb with the
ring, and learns from her that it can be made to convict
Euryanthe of indiscretion, or at least of breaking her



462 THE STANDARD OPERAS

promise not to reveal the tomb secret. He obtains the
ring, confronts Euryanthe with it at the palace, and forces
her to admit the broken promise. Adolar, believing that
she is guilty, drags her away to a wilderness where it is his
intention to kill her ; but on the way they are attacked by
a serpent. Adolar slays the monster, and then, seized
with sudden pity, he abandons his intention of killing her,
but leaves her to her fate. She is subsequently found by
the King while on a hunting expedition, and to him she
relates the story of Eglantine's treachery. The King
takes her with him to the palace. Meanwhile Adolar has
begun to suspect that Euryanthe has been the victim of
her base wiles, and on his way to Nevers to punish Lysiart
he encounters the wedding procession of the guilty pair,
and challenges him. The King suddenly arrives upon
the scene and announces Euryanthe's death, whereupon
Eglantine declares her love for Adolar. The furious Ly-
siart turns upon her and stabs her. Euryanthe is not
dead. She has only fainted, and is soon restored to her
lover, while Lysiart is led off to the scaffold.

The overture, which is familiar in our concert rooms,
gives a sketch of the principal situations in the opera.
The first act opens in the great banquet-hall of the King
with a flowing and stately chorus (" Dem Frieden Heil")
alternating between female and male voices and finally
taken by the full chorus. Then follows Adolar's lovely and
tender romanza (" Unter bluhenden Mandelbaumen ").
The next number, a chorus ("Heil! Euryanthe "), with
recitatives for Adolar, Lysiart, and the King, leads up to a
vigorous trio (" Wohlam ! Du kennst"). Euryanthe's
idyllic and touching cavatina ("Gldcklein im Thale") is
a match in beauty and tenderness for Adolar's romanza.
The recitative which follows introduces a sentimental aria
for Eglantine (" O mein Leid ist unermessen "), leading
to a duet with Euryanthe (" Unter ist mein Stern



WEBER 463

gegangen"). A scena for Eglantine, characterized by
all the hatred and fury of jealousy, introduces the finale,
which consists of a vigorous chorus (" Jubeltone ") accom-
panying Euryanthe's solo (" Frohliche Klange").

The second act opens with a powerful recitative and
aria for Lysiart ("Wo berg ich mich "), which is full of
passion. A duet of a menacing and sombre character
between Lysiart and Eglantine (" Komm denn unser Leid
zu rachen ") stands out in gloomy contrast with Adolar's
aria (" Wehen mir Lufte Run' ") and the duet with Eury-
anthe (" Hin nimm die Seele mein "), so full of grace and
tenderness, which lead up to the finale, a grand quartet
(" Lass mich empor zum Lichte "), with powerful chorus
accompaniment.

The last act opens with the serpent episode, accom-
panied by characteristic music, and a recitative scene
between Euryanthe and Adolar leads up to a pathetic
cavatina for Euryanthe (" Hier am Quell wo Weiden
stehn"). The ringing notes of the horns behind the
scenes announce the approach of the King's party, who
sing a fresh and sonorous hunting chorus ("Die Thale
dampfen"). The remaining numbers are a duet for
Euryanthe and the King with chorus ("Lasst mich hier
in Ruh' erblassen"), a lovely and melodious aria with
chorus for Euryanthe ("Zu ihm "), a bright wedding
march and scene with chorus, and a duet for Adolar and
Lysiart with chorus, leading to the grand quintet and
chorus which bring the opera to a close.

Preciosa

" Preciosa," romantic drama in four acts, text by Pius
Alexander Wolff, after Cervantes's novel, " The Gypsy
Maiden," was first produced in Berlin, March 14, 1821.
" Preciosa " is not an opera in the strict sense but a
drama with incidental music, Weber having composed the



464 THE STANDARD OPERAS

music for the songs and dances. The drama was first set
to music by Eberwein, but when offered for performance
was rejected upon the score of being " likely to create a
false interest in the robber bands infesting the neighbor-
hood of Berlin." Some time afterwards, when Wolff and
Weber had become close friends, Weber was urged to
furnish better music, which he did, although he had decided
not to compose incidental music for dramas any more.

The story is a simple one. The child Preciosa is stolen
by gypsies and grows up beautiful and accomplished. A
young nobleman, Alonzo, falls in love with her and decides
to remain with the gypsies and assume their habits for
two years to prove his constancy and devotion. In the
meantime, Eugenio, son of Don Azevedo, a friend of Don
Francesco, Alonzo's father, arouses Alonzo's jealousy with
the result that a quarrel follows and Alonzo finds himself
in prison. In the last act, Donna Clara, Eugenio's
mother, helps to release Alonzo, and for the sake of his
father, Preciosa renounces her lover. While bidding them
all farewell, she is greatly overcome, but in the end happi-
ness is restored, for Preciosa turns out to be Donna Clara's
own daughter, who had been stolen many years befcre.
The denouement of course is Preciosa's union to her
faithful lover, Alonzo.

The musical interest of " Preciosa " centres largely in
Weber's skilful use of national melodies, especially the
gypsy music. The most striking numbers are the overture,
which still is a favorite on the concert stage, the Gypsy
March, which opens the opera, followed by the chorus
(" Hail Preciosa"), the melodramatic soliloquy for Pre-
ciosa, the Gypsy Chorus opening the second act with its
descriptive accompaniment, and another Gypsy Chorus
closing it, the Spanish national dance and the closing
dramatic music in the last act. Although the music is
incidental, Weber bestowed as much care upon it as if it



WEBER 465

had been the dominant feature. His son says : " On the
20th of July, the whole score of ' Preciosa' was despatched
to Brtthl, together with a lengthy notice to Wolff, relative
to the nature, meaning, and musical character to be given
to each separate piece, the precise introduction of every
phrase of the melodramatic music during the declamation,
and more especially of the echo, and of the movements and
stage business of the gypsy band during the repetition of
the voices in the distance." The chief interest, however,
which attaches to "Preciosa" is the fact that it was the
precursor of "Der Freischutz," and contains in a general
way the ideas which were fully developed in that greatest
opera in the German romantic school.



30



APPENDIX

BIBLIOGRAPHY OF AMERICAN
OPERA

THE subjoined list of operas written by American
composers does not include musical comedies,
which are now so much in vogue, nor those very light
operettas and musical farces which have been of the most
ephemeral character. The compiler of this volume has
sought only to make a record of those which can claim
some degree of musical ambition and merit. A large
number of operas have been written by American com-
posers, but none of them has succeeded in making a per-
manent place for itself on the stage or securing a position
which may be called standard. It cannot be doubted,
however, that an American composer of grand opera will
appear some day, and that his work will be accepted as
worthy of a place by the side of English, French, German,
and Italian operas.

The earliest American opera of which mention is made
is " The Archers ; or, the Mountaineers of Switzerland,"
written by Benjamin Carr, in 1756. Little is now known
about it. The next opera was " The Disappointment ; or,
the Force of Credulity," by Andrew Barton, the libretto
of which was published at Philadelphia in 1767. Mr.
O. G. Senneck, Chief of the Music Department of the
Congressional Library, in his scholarly monograph, " Fran-
cis Hopkinson, the First American Poet-composer," says
of it : " ' The Disappointment ' was the first opera libretto



468 APPENDIX

written by a native American and printed in the Colonies.
The work is entitled a comic opera for being interspersed
with songs." Other early operas were "The Vintage"
(1790) and "Edwin and Angelina," by Victor Pellesier
(1798). The first operas written in the grand style were
"Leonora" and "Notre Dame de Paris" (1863), by
William H. Fry of New York, an accomplished musician,
critic, and scholar. Both these operas were very successful
at the time. In 1855, George F. Bristow also produced
his opera, " Rip Van Winkle." It was well received, but
it also is now unknown, except in libraries. The general
bibliography of American operas is as follows :

Adamowski, Timothy: " Lord Buncombe's Daughter."

Aronson, Rudolph : " Captain Kidd."

Arthur, Alfred: "The Water Carriers," "The Roundheads and
Cavaliers," " Adaline ."

Baker, B. F. : " William Penn."

Bartlett, Homer N. : " La Valliere."

Bassford, William K. : " Cassilda."

Beck, Johann H. : " Salammbo."

Bird, Arthur: "Daphne."

Blake, Charles D. : "The Light Keeper's Daughter."

Bonawitz, Johann H. : " The Bride of Messina," " Ostrolenka."

Buck, Dudley : " Deseret."

Burr, Frank A. : " Mizpah."

Butterfield, James A. : " Romance of a Summer."

Chadwick, George W.: " Tabasco," "Judith."

Coerne, L. A. : "A Woman of Marblehead."

Converse, Frederick S. : *' Pipe of Desire."

Crouch, Frederick M. : " The Fifth of November," " Sir Roger
de Coverley."

Damrosch, Walter J. : " The Scarlet Letter."

Danks, Harvey P. : " Pauline."

De Koven, Reginald: "The Begum," "Don Quixote," "Robin
Hood," " The Fencing Master," " The Knickerbockers," " The
Algerian," " Rob Roy," " The Tzigane," " The Mandarin," " The
Paris Doll," "The Highwayman," "The Three Dragoons,"
"Maid Marian," " Papa's Wife," " Foxy Quiller," " Little Duch-
ess," " Red Feather," " Elysia," "The Student King."

Eggers, Anton C: "Nina."



APPENDIX 469

Eichberg, Julius: " Doctor of Alcantara," " The Rose of Tyrol,"

« The Two Cadis," " A Night in Rome."
Fairlamb, James R. : " Treasured Tokens," " Valerie," " Leonello."
Fanciulli, Francesco : " Miles Standish."
Florio, Caryl (W. J. Robjohn) : "Inferno," " Les Tours de

Mercure," " Suzanne," " Sulda," " Uncle Tom."
Gleason, Frederick G. : " Otho Visconti," " Montezuma."
Goldbeck, Robert : " Soldiers' Return," " Saratoga," " Newport,"

" The Commodore."
Gottschalk, Louis M. : " Charles IV," "Isaura de Salerno."
Hamerik, Asger: " Tovelille," " Hjalmar and Ingeborg," "La

Vendetta," " The Traveler."
Harris, William V. : " Mile. Maie et M. de Lembre."
Henschel, George : " Love's Stowaway."
Herbert, Victor : " Prince Ananias," " The Wizard of the Nile,"

"The Serenade," "The Idol's Eye," "The Fortune Teller,"

" Cyrano de Bergerac," " The Ameer," " The Viceroy," " The

Singing Girl," " Babette," " Babes in Toyland," " Mile. Modiste,"

" It Happened in Nordland."
Holst, Edouard : " Our Flats."
Jordan, Jules : " Rip Van Winkle."
Kelly, Edgar S. : " Puritania."
Kielblock, Franz: "Miles Standish."
Klein, Bruno O. : " Keno."
Lavelle, Calixo : " The Widow."
Leavitt, W. J. D. : " Mercedes," " The Adventure Club," " Flowers

and Lilies."
Loomis, Harvey W. : "The Maid of Athens," "The Burglar's

Bride."
Lorenz, J. M. : " The Pearl of Bagdad."
Maretzek, Max : " Hamlet," " Sleepy Hollow."
Merz, Karl: "Last Will and Testament," "Katie Dean," "The

Runaway Flirt."
Millard, Harrison : " Deborah."
Mollenhauer, Edward : " The Corsican Bride."
Neuendorff, Adolph : " Rat Catcher of Hamelin," " Don

Quixote."
Page, N. C. : " The First Lieutenant," " Villiers."
Paine, John K. : " Azara."
Pratt, Silas G. : " Zenobia," " Lucille," " Triumph of Columbus,"

" Antonio."
Provost, Eugene : " Esmeralda."
Rowe, G. F. : " Phyllis."
Shelley, Harry R. ; " Leila."



47o APPENDIX

Sousa, John P.: "The Free Lance," "The Smugglers," " De-
siree," "The Queen of Hearts," " El Capitan," "The Bride
Elect," "The Charlatan," " Chris and the Wonderful Lamp,"
" Katherine."

Stahl, Richard: " Lee-li-nan."

Susette, Thomas W. : " Priscilla ; or, the Pilgrims' Proxy,"
"Cascabel."

Trajetta, Philippe : " The Venetian Maskers."

Tryon, G. W. : " Amy Gassenet."

Vanderstucken, Frank : " Vlascla."

Weil, Oscar : " Pyramus and Thisbe."

Woolf, Benjamin E. : " Lawn Tennis," " Pounce & Co.," " West-
ward Ho."

Young, Corinne: " Onganita."



INDEX



INDEX



Achard, M., 341

"Adaline," Arthur, 468

Adam, Adolph, Boieldieu's pupil, 50

Adam, Adolphe Charles, sketch of, 1

Adamowski, Timothy, 468

" Adelson e Salvino," Bellini, 30

Agathe, Frau, 394

" Ai'da," outline of, 368-371

Albani, Emma, 76

Alboni, Mme., 5, 187

"Alceste," Gluck, 101

Aldighieri, Sig., 252

" Alessandro Stradella," 95

Alexi, Herr, no

" Ali Baba," Cherubini, 59

"AH Pascha von Janina," Lortzing,

"Almanzar," Meyerbeer, 185

A 1 vary, Herr, 113

American Opera Company, 69, 106,
172, 2S2

American Opera Troupe, 102

Amodio, Sig., 361

"Am Runenstein," Genee and Flo-
tow, 98

"Amy Gassenet," Tryon, 470

"Anacreon," Cherubini, 59

Ancona, Sig., 151

Ander, Herr, 92

" Anecdotes," Crowest, quoted, 81

" A Night in Rome," Eichberg, 469

"Anna Bolena," Donizetti, j^

Anthes, Herr, 245

" Antonio," Pratt, 469

Arditi, Sig., 386

Arimondi, Sig., 375

"Armida," Rossini, 269

"Armide," Gluck, 102

Arnoldson, Mme., 151

Aronson, Rudolph, 468

Arthur, Alfred, 468

" Ascanio," Saint-Saens, 287

Aterrier, M., 144

"Attila," Verdi, 350



Auber, Daniel F. E., sketch of, 5
" Aureliano in Palmira," Rossini,

269
" A Woman of Marblehead," Coerne,

468
" Azara," Paine, 469



B



"Babes in Toyland," Herbert, 469

" Babette," Herbert, 469

Bache, Constance, 138

Baglioni, Sig., 218

Baireuth theatre, 407-410

Baker, B. F., 468

Balanque, M., 118

Balderi, M., 361

Balfe, Michael William, sketch of, 17

Bandrowski, Mr. von, 245

"Barbe Bleue," Offenbach, 236

Barbier, Jules M., 118, 121, 123,

169, 172, 198, 214, 282, 340, 345
Barbot. M., 118
Barlandini, Sig., 252
Barnett, Alice, 316, 319
Baroelhst, M., 76
Barrington, Rutland, 311, 316, 319
Bars, Jacques, 138, 259
Bartlett, Homer N., 468
Barton, Andrew, 467
Bassford, William K., 468
Bassi, Sig. Luigi, 218
"Bastien und Bastienne," Mozart,

212
Bataille, M., 341
Batteo, Mile. Marie, 205
Battu, M., 171
Baucarde, M., 361
Bauserwein, Herr, 407
Bayard, M., 74

" Beatrice di Tenda," Bellini, 30
Beaucarde, Sig., 354
Beck, Herr, 394
Beck, Johann H., 468
Beethoven, Ludwig van, sketch of,



474



INDEX



25 ; his estimate of " The Magic

Flute," 227
Behrens, Conrad, 62
Bellamy, Mr., 142
Bellinconi, Gemma, 162
Bellini, Vincenzo, sketch of, 30
"Bellmann," Suppe, 333
Belval, M., 205

Benedict, Julius, sketch of, 39
Bensberg, Kate, 107
Bentham, Mr., 309
Benucci, Sig., 213, 216
Berthold, Barron, 62
Bertram, Herr, 437
Betts, Miss, 18
Betz, Herr, 402, 410, 411
"Bianca," Brull, 56
"Bianca e Faliero," Rossini, 269
" Bianca e Fernando," Bellini, 30
Biancolini, Sig., 252
Bird, Arthur, 468
Bis, Hippolyte, 277
Bispham, Mr., 245
Bizet, Georges, sketch of, 43
Blake, Charles D., 468
Bland, Mr., 456
Blass, Mr., 245
Blau, M M 177, 182, 262
Bloch, Mme., 288
Blume, Herr Heinrich, 451
" Boccaccio," outline of, 336, 337
Boieldieu, Francois Adrien, 1, 48
Boito, Arrigo, sketch of, 52; 251,

372, 375
Bonawitz, Johann H., 468
Bondini, Signora, 218
Bond, Miss J., 311, 319
Borghi-Mamo, Mme., 361
Borrain, Mr., 442
Borrani, Mr., 13, 18
Bosio, Mme., 6, 354
Bosnian, Mme., 262
Botticelli, Sig., 270
Boucicault, Dion, 39
Bouilly, M., 59
Boussa, M., 262
Bouvet, M., 182
Braham, John, 9, 456
Braham, Leonora, 316, 319
Brandt, Frl. Mariann, no, 113, 398
Brani, Miss Cecile, 138
Brignoli, Sig., 361
Bristow, George F., 468
Brull, Ignaz, sketch of, 56
Brunswick, Mr., 2
Buck, Dudley, 468



Bunge, Rudolph, 229
Bunn, Alfred, 18, 95
Burgmuller, Herr, 92
Burr, Frank A., 468
Bursch, Herr, 113
Bussani, Signora, 213
Bussani, Sig., 213
Butterfield, James A., 468



Cabel, Mme. Marie, 198, 341

Cache, Herr, 26

"Cagliostro," Adam, 1

Calzabigi, Sig., 102

"Camargo," Lecocq, 144

Cammarano, M., 81, 361

Campbell, Miss, 162

Candidus, Mr., 282

"Captain Kidd," 468

Carafa, M., 274

Carl Rosa English Opera Troupe,

257
" Carmen," 43 ; outline of, 44-47
Caron, Mme. Rose, 262
Carr, Benjamin, 467
Carre, M., 118, 121, 123, 169, 172,

198, 214, 340, 345
Carte, D'Oyly, 309
" Cascabel," Susette, 470
" Cassilda," Bassford, 468
Castellan, Mme., 187
" Catarina Comaro," Donizetti, 73
"Catharine Grey," Balfe, 17
" Cavalleria Rusticana," outline of,

162-165
Cawse, Miss, 456
"Cenerentola," Rossini, 269
Chadwick, George W., 468
Chapuy, Mile., 44
"Charles IV," Gottschalk, 469
" Charles VI," Halevy, 126
" Charles de France," Boieldieu and

Herold, 132
Chavanne, Frl. von, 245
Cherubini, Maria Luigi C. Z. S.,

sketch of, 59
" Chris and the Wonderful Lamp,"

Sousa, 470
"Cinq-Mars,'' Gounod, 117
Cinti-Damoreau, Mme., 194
Clairville, M., 147, 248
"Clari," Halevy, 126
Clifford, Mr., 311
Coerne, L. A., 468



INDEX



475



Coletti, Sig., 354

Conders, M., 341
Converse, Frederick S., 468
"Coppelia," ballet, Delibes, 69
Cordier, Mile., 19S
Costa, Sig., 368

"Cox and Box," Sullivan, 308, 309
Cremieux, M., 241
Cremonini, Sig., 259
" Crispino," outline of, 266-268
Crouch, Frederick M., 468
Crowest, " Anecdotes," quoted, 81
"Cyrano de Bergerac," Herbert, 469
"Czar and Carpenter," outline of,
154-156

D

Dabodie, M., 277
Dabodie, Mme., 277
Damoreau-Cinti, Mme., 9, 277
Damrosch, Walter J., sketch of, 62;

288
Danks, Harvey P., 468
" Daphne," Bird, 468
Da Ponte, Lorenzo, 213, 218
" Das Gliick von Edenhall," Hump-

erdinck, 137
" Das Goldene Kreuz." See " The

Golden Cross"
" Das Madchen vom Lande," Suppe,

333
"Das Rheingold," outline 0^414-

4i7
"Das Spitzentuch der Konigin,"

Johann Strauss, 296
" Das Steinerne Herz," Briill, 56
" Das Waldmadchen," Weber, 449
"Deborah," Millard, 469
De Gramont, M., 182
Deinet, Mile., 398
De Koven, Reginald, sketch of, 64
Delavigne, 9, 194, 195
Deldeves, M., 92
De Leuven, M., 2
Delibes, Leo, sketch of, 69
De Puente, Sig., 162
De Lucia, Sig., 151, 259
De Meric, Mme., 194
Demmer, Herr, 26
" Demophon," Cherubini, 59
Dennery, M., 177
"Der Barenhauter, outline of, 437-

, 439

"Der Bettler von Samarkand,"
Briill, 56



Dereim, M., 290

De Reszke, Edouard, 177

De Reszke, Jean, 177

" Der Freischiitz," outline of, 450-

456
" Der Geiger aus Tirol," Genee, 98
"Der Husar," Briill, 56
Derivis, M., 1S6

" Der Kobold," outline of, 439, 440
" Der Kyffhaiiser Berg," Marschner,

3 57

"Der Landfriede," Briill, 56

" Der Lustige Krieg," Johann

Strauss, 2q6
" Der Miiller von Meran," Flotow,

9i
" Der Rattenfanger von Hameln,"

Nessler, 229
"Der Regimentstambour," Mil-
locker, 209
" Der Seekadett," Genee, 98
"Der Templer," Nicolai, 233
"Der Templer und die Jiidin,"

Marschner, 157
"Der Trompeter von Sakkingen."
See "The Trumpeter of Sakkin-
gen "
"Der Vampyr," Marschner, 157
" Der Waff enschmied, " Lortzing,

T 54
"Der Wassertrager, " Cherubini, 59

"Der wilde Jager," Nessler, 229
" Der Wildschiitz," Lortzing, 154
" Der Zigeunerbaron," Johann

Strauss, 296
Deschamps, M., 186
Deschamps, Mme., 262
"Deseret," Buck, 468
" Desiree," Sousa, 470
Detmer, Herr, 380
Detroyat, M., 290
" Deux Sous de Carbon," Delibes, 69
Devrient, Edouard, 157
Devries, M., 262
" Die Afrikareise," Suppe, 333
" Die beiden Schutzen," Lortzing,

x 54
"Die Dreizehn," Genee, 98
"Die Entfuhrung aus dem Serail,"

Mozart, 213
"Die Fledermaus," outline of, 298,

299
"Die Fraueninsel, " Millocker, 209
" Die Generalprobe," Genee, 98
" Die Gotterdammerung," outline of,

426-430



476



INDEX



"Die Gottin der Vernunft," Johann

Strauss, 296
" Die Grossfiirstin," Flotow, 91
"Die Heimkehr des Verbannten,"

Nicolai, 233
"Die Hochzeit des Figaro." See

" The Marriage of Figaro "
" Die landliche Hochzeit," no
" Die Matrosen " (" Le Naufrage de

la Meduse"), 91
" Die Piraten," Genee, 98
" Die Roland's Knappen," Lortzing,

154
Dietz, Mme., 402

"Die Walkiire," outline of, 417-422
"Die Wallfahrt nach Kevelaar,"

Humperdinck, 137
"Die Zauberflote," 213. See " The

Magic Flute"
Dilthey, Minnie, 102
Di Murska, Mile., 386
" Dinorah," outline of, 198-201
"Djamileh," Bizet, 43
"Docteur Miracle," Bizet, 43
"Doctor of Alcantara," Eichberg,

469
Donatelli, Mme., 358
"Don Carlos," Verdi, 350
"Don Giovanni," 213; outline of,



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