ulamith," "Christus," "Das verlorene
Paradies," "Moses," Action and stage directions, New Testament stories
in opera, The Prodigal Son, Legendary material and the story of the
Nativity, Christ dramas, Hebbel and Wagner, "Parsifal,"

CHAPTER IV

"SAMSON ET DALILA"

The predecessors of M. Saint-Saens, Voltaire and Rameau, Duprez and
Joachim Raff, History of Saint-Saens's opera, et seq.--Henri Regnault,
First performances, As oratorio and opera in New York, An inquiry into
the story of Samson, Samson and Herakles, The Hebrew hero in legend, A
true type for tragedy, Mythological interpretations, Saint-Saens's
opera described, et seq.--A choral prologue, Local color, The character
of Dalila, et seq.--Milton on her wifehood and patriotism, "Printemps
qui commence," "Mon coeur s'ouvre a ta voix," Oriental ballet music,
The catastrophe,

CHAPTER V

"DIE KONIGIN VON SABA"

Meritoriousness of the book of Goldmark's opera, Its slight connection
with Biblical story, Contents of the drama et seq.--Parallelism with
Wagner's "Tannhauser," First performance in New York, Oriental luxury
in scenic outfit, Goldmark's music,

CHAPTER VI

"HERODIADE"

Modern opera and ancient courtesans, Transformed morals in Massenet's
opera, A sea-change in England, Who and what was Salome? Plot of the
opera, Scenic and musical adornments, Performances in New York,
(footnote).

CHAPTER VII

"LAKME"

Story of the opera, et seq.--The "Bell Song," Some unnecessary English
ladies, First performance in New York, American history of the opera,
Madame Patti, Miss Van Zandt Madame Sembrich Madame Tetrazzini,
Criticism of the drama, The music,

CHAPTER VIII

"PAGLIACCI"

The twin operas, "Cavalleria Rusticana" and "Pagliacci," Widespread
influence of Mascagni's opera, It inspires an ambition in Leoncavallo,
History of his opera, A tragic ending taken from real life, et
seq.--Controversy between Leoncavallo and Catulle Mendes, et seq.--"La
Femme de Tabarin," "Tabarin" operas, The "Drama Nuevo" of Estebanez and
Mr. Howells's "Yorick's Love," What is a Pagliaccio? First performances
of the opera in Milan and New York, The prologue, et seq.--The opera
described, et seq.--Bagpipes and vesper bells, Harlequin's serenade,
The Minuet, The Gavotte, "Plaudite, amici, la commedia finita est!"
Philip Hale on who should speak the final words,

CHAPTER IX

"CAVALLERIA RUSTICANA"

How Mascagni's opera impressed the author when it was new,