Attic
tragedy and Attic decorum, The loathsome operatic brood which it
spawned, Not matched by the composer or his imitators since, Mascagni's
account of how it came to be written, et seq.--Verga's story, et
seq.--Story and libretto compared, The Siciliano, The Easter hymn,
Analysis of the opera, et seq.--The prelude, Lola's stornello, The
intermezzo, "They have killed Neighbor Turiddu!"

CHAPTER X

THE CAREER OF MASCAGNI

Influence of "Cavalleria Rusticana" on operatic composition,
"Santuzza," a German sequel, Cilea's "Tilda," Giordano's "Mala Vita,"
Tasca's "A Santa Lucia," Mascagni's history, et seq.--Composes
Schiller's "Hymn to Joy," "Il Filanda," "Ratcliff," "L'Amico Fritz," "I
Rantzau," "Silvano," "Zanetto," "Le Maschere," "Vistillia," "Arnica,"
Mascagni's American visit,

CHAPTER XI

"IRIS"

The song of the sun, Allegory and drama, Story of the opera, et
seq.--The music, et seq.--Turbid orchestration, Local color, Borrowings
from Meyerbeer,

CHAPTER XII

"MADAMA BUTTERFLY"

The opera's ancestry, Loti's "Madame Chrysantheme," John Luther Long's
story, David Belasco's play, How the failure of "Naughty Anthony"
suggested "Madame Butterfly," William Furst and his music, Success of
Mr. Belasco's play in New York, The success repeated in London, Brought
to the attention of Signor Puccini, Ricordi and Co. and their
librettists, "Madama Butterfly" fails in Milan, The first casts in
Milan, Brescia, and New York, (footnote) Incidents of the fiasco,
Rossini and Puccini, The opera revised, Interruption of the vigil,
Story of the opera, et seq.--The hiring of wives in Japan, Experiences
of Pierre Loti, Geishas and mousmes, A changed denouement, Messager's
opera, "Madame Chrysantheme," The end of Loti's romance, Japanese
melodies in the score, Puccini's method and Wagner's, "The
Star-Spangled Banner," A tune from "The Mikado," Some of the themes of
Puccini and William Furst,

CHAPTER XIII

"DER ROSENKAVALIER"

The opera's predecessors, "Guntram," "Feuersnot," "Salome," Oscar Wilde
makes a mistaken appeal to France, His necrophilism welcomed by Richard
Strauss and Berlin, Conried's efforts to produce "Salome" at the
Metropolitan Opera Blouse suppressed, Hammerstein produces the work,
"Elektra," Hugo von Hoffmannsthal and Beaumarchais, Strauss and Mozart,
Mozart's themes and Strauss's waltzes, Dancing in Vienna at the time of
Maria Theresa, First performance of the opera at New York, "Der
Rosenkavali