Programme . which she could bring into play the whole battery of herperversites artistiqiies, to borrow Charles Pigots phrase: Caressingtones and smiles, voluptuous inflections, killing glances, disturbinggestures. During the rehearsals Bizet made a dozen versions. Thesinger was satisfied only with the thirteenth, the now familiar Haba-nera, based on an old Spanish tune that had been used by SebastienYradier. This brought Bizet into trouble, for Yradiers publisher,Heugel, demanded that the indebtedness should be acknowledged inBizets score. Yradier made no complaint, but, to avoid a law-suit o
Programme . which she could bring into play the whole battery of herperversites artistiqiies, to borrow Charles Pigots phrase: Caressingtones and smiles, voluptuous inflections, killing glances, disturbinggestures. During the rehearsals Bizet made a dozen versions. Thesinger was satisfied only with the thirteenth, the now familiar Haba-nera, based on an old Spanish tune that had been used by SebastienYradier. This brought Bizet into trouble, for Yradiers publisher,Heugel, demanded that the indebtedness should be acknowledged inBizets score. Yradier made no complaint, but, to avoid a law-suit ora scandal, Bizet gave consent, and on the first page of the Habanerain the French edition of Carmen this line is engraved: Imitatedfrom a Spanish song, the property of the publishers of Le Menestrel. La Habanera, a lyric drama in three acts, libretto and music byRaoul Laparra, was produced at the Opera-Comique, Paris, February26, 1908. The chief singers were Salignac, Pedro; Seveilhac, Ramon; ^^^^^^^^^^^^=. Mile. Demellier, La Pilar; Vieuille, Un Vieux. Ruhlmann opera was produced fifteen times in 1908, ten times in 1909. This opera was produced for the first time in the United States atthe Boston Opera House on December 14, 1910, when the chief singerswere Robert Lassalle, Pedro; Ramon Blanchart, Ramon; Fely De-reyne, La Pilar; and Jose Mardones, Le Vieux. Mr. Caplet was a second performance on December 23, 1910. The operawas revived at this Opera House, March 22, 25, 1912, when Maria Gay,Jean Riddez, and de Potter took the parts of La Pilar, Ramon, andPedro respectively. IX. vStrings alone. Polska. I. J. P. X. Full orchestra. Erin. L. S. XI. English horn solo. Harp. H. W. Petrograd. XII. Horn solo and pianoforte. E. G. XIII. Full orchestra. In memory of Gustav Mahler. XIV. Strings, violin solo. Lagoon. N. C. XV. Pianoforte and orchestra. Martellato. Sparks. XVI. Viola solo and pianoforte. Fr. Kr. XVII. Clarinet and pianoforte. XVII A. Full orche
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