Identifier: victrolabookofop00vict (find matches)
Title: The Victrola book of the opera : stories of one hundred and twenty operas with seven-hundred illustrations and descriptions of twelve-hundred Victor opera records
Year: 1917 (1910s)
Authors: Victor Talking Machine Company Rous, Samuel Holland
Subjects: Operas
Publisher: Camden, N.J. : Victor Talking Machine Co.
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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ldato (I Was a Soldier) By Egidio Cunego, Tenor (Double-Faced—See below) (Italian) 45012 10-inch, $1.00 Gerard, regretting that he has signed the papers which condemned Andrea, rushesforward and testifies for him, but the people demand more victims, insisting upon the deathsentence, and the prisoner is led away. ACT IV SCENE—The Prison of St. Lazare Andrea is in his cell, writing verses by the light of a lamp. Madeleine succeeds ingetting into the prison by impersonating a recently pardoned prisoner, and by bribing hisjailer. Gerard conducts her to Andrea and then goes for a last appeal to Robespierre. Thelovers cling to each other in a last embrace, and at dawn, when the death wagon comesfor Andrea, Madeleine goes to the guillotine to die with him. DOUBLE-FACED ANDREA CHENIER RECORDS (Son sessant anni (My Aged Father) By Ernesto Badini, 1 Baritone (In Italian) IA -ni _ . n . , 41 nn ISi, fui soldato (I Was a Soldier) By Egidio Cunego, Tenor 45°12 lO-mca, »i.uu( (In Italian)) 31
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SETTING OF ACT I, SCENE T, AT LA SCALA IL BARBIERE DI SIVIGLIA (Eel Bahr-beay-reh dee See-Veel -yah) BARBER OF SEVILLE COMIC OPERA IN TWO ACTS Text by Sterbini; founded on the trilogy of Beaumarchais. Music by Rossini. Firstpresented at Rome, February 5, 1816. The opera was at first called Almaviva, to distin-guish it from Paisiellos Barber. First London production, 1818. At Paris, in Italian,1819; in French, 1824. First production in Germany at Brunswick, 1820. Produced atVienna, 1820; Berlin, 1822. First N. Y. production November 29, 1825, by Manuel Garciaand company; sung at the New Orleans Opera, March 9, 1828. Many notable revivals haveoccurred in America of recent years—in 1898, for Melba, who made her first Americanappearance as Rosina; for Sembrichs farewell operatic appearance in 1908; by Hammer-stein, for Tetrazzini; the New Theatre production with Lipkowska, and the Metropolitanrevival, February 5, 1916, with Hempel, Farrar, Matzenauer, Damacco and de Luca. Cast COUNT ALM

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