er" and "Le Nozze di Figaro," Criticism of the play and its
music, et seq.--Use of a melodic phrase from "Die Zauberflote," The
language of the libretto, The music, Cast of the first American
performance, (footnote)

CHAPTER XIV

"KONIGSKINDER"

Story of the play, et seq.--First production of Hummerdinck's opera and
cast, Earlier performance of the work as a melodrama, Author and
composer, Opera and melodrama in Germany, Wagnerian symbolism and
music, "Die Meistersinger" recalled, Hero and Leander, Humperdinck's
music,

CHAPTER XV

"BORIS GODOUNOFF"

First performance of Moussorgsky's opera in New York, Participation of
the chorus in the tragedy, Imported French enthusiasm, Vocal melody,
textual accents and rhythms, Slavicism expressed in an Italian
translation, Moussorgsky and Debussy, Political reasons for French
enthusiasm, Rimsky-Korsakoff's revision of the score, Russian operas in
America, "Nero," "Pique Dame," "Eugene Onegin," Verstoffeky's "Askold's
Tomb," The nationalism of "Boris Godounoff," The Kolydda song "Slava"
and Beethoven, Lack of the feminine element in the drama, The opera's
lack of coherency, Cast of the first American performance,

CHAPTER XVI

"MADAME SANS-GENE" AND OTHER OPERAS BY GIORDANO

First performance of "Madame Sans-Gene," A singing Napoleon, Royalties
in opera, Henry the Fowler, King Mark, Verdi's Pharaoh, Herod, Boris
Godounoff, Macbeth, Gustavus and some mythical kings and dukes, et
seq.--Mattheson's "Boris," Peter the Great, Sardou's play and
Giordano's opera, Verdi on an operatic Bonaparte, Sardou's characters,
"Andrea Chenier," French Rhythms, "Fedora," "Siberia," The historic
Chenier, Russian local color, "Schone Minka," "Slava," "Ay ouchnem,"
French revolutionary airs, "La Marseillaise," "La Carmagnole," "Ca ira,"

CHAPTER XVII

TWO OPERAS BY WOLF-FERRARI

The composer's operas first sung in their original tongue in America,
First performances of "Le Donne Curiose," "Il Segreto di Susanna," "I
Giojelli della Madonna," "L'Amore Medico," Story and music of "Le Donne
Curiose," Methods and apparatus of Mozart's day, Wolf-Ferrari's
Teutonism, Goldoni paraphrased, Nicolai and Verdi, The German version
of "Donne Curiose," Musical motivi in the opera, Rameau's "La Poule,"
Cast of the first performance in New York, (footnote)--Naples and
opera, "I Giojelli della Madonna," et seq.--Erlanger's "Aphrodite,"
Neapolitan folksongs, Wolf-Ferrari's individuality, His "Vita