. 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 . arch of peace of mind, Onegin returns to , and is invited by Prince Gremin to a ball at his palace. Here, to his astonish-ment, he meets Tatiana, now the wife of the Prince, a man of distinction and high in favorwith the Czar. He promptly falls in love with the beautiful woman who as a simple coun-try girl he spurned years before; seeks her out and declares his love. After a mightystruggle Tatiana determines to be tr
. 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 . arch of peace of mind, Onegin returns to , and is invited by Prince Gremin to a ball at his palace. Here, to his astonish-ment, he meets Tatiana, now the wife of the Prince, a man of distinction and high in favorwith the Czar. He promptly falls in love with the beautiful woman who as a simple coun-try girl he spurned years before; seeks her out and declares his love. After a mightystruggle Tatiana determines to be true to her husband, while admitting that she still lovesOnegin, and the curtain falls as he leaves the palace, overcome by mingled bitterness andpassion, and the feeling that his life has been an empty waste. The opera is full of the romantic melancholy melodies with which Tschaikowsky was soprolific—melodies that have won all hearts. One of these is the Air de Lienski, ADistant Echo of My Youth {Echo lointain de ma jeunesse). Air de Lienski—Echo lointain de ma jeunesse (A Distant Echoof My Youth) By Enrico Caruso, Tenor (In French) 88582 12-inch, $ 120. FORD CUDGELLING FALSTAFF, WHO IS DISGUISED AS THE OLD WOMAN OF BRENTFORD ACT IV (Italian) FALSTAFF (Fahl-stahf) COMIC OPERA IN THREE ACTS Text by Boito, taken from Shakespeares comedy, The Merry Wives of Windsor. Musicby Verdi. First production, Milan, March, 1893. First Berlin production June I, 1893;Vienna, June 21, 1893; Buenos Aires, July 9, 1893; Paris, April 18, 1894. First Londonproduction May 19, 1894, under the management of Sir Augustus Harris. First NorthAmerican production at the Metropolitan Opera House, New York, February 4, 1895, withEames, Maurel, Scalchi, de Lussan and Campanari, under the direction of Maurice performances were given in 1896, after which it was not heard again at the Metropolitanfor fourteen years. Campanari was the only member of the original cast to appear in the1909 reviv
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