Hempel (_Adina_) and Caruso (_Nemorino_) in "L'Elisir d'Amore" 336
Caruso as _Edgardo_ in "Lucia di Lammermoor" 348
Galli-Curci as _Lucia_ in "Lucia di Lammermoor" 349
Galli-Curci as _Gilda_ in "Rigoletto" 392
The Quartet in "Rigoletto." _The Duke_ (Sheehan), _Maddalena_ (Albright), _Gilda_ (Easton), _Rigoletto_ (Goff) 400
Riccardo Martin as _Manrico_ in "Il Trovatore" 401
Schumann-Heink as _Azucena_ in "Il Trovatore" 410
Galli-Curci as _Violetta_ in "La Traviata" 411
Farrar as _Violetta_ in "La Traviata" 420
Louise Homer as _Laura_ in "La Gioconda" 489
Plançon as _Saint Bris_ in "The Huguenots" 508
Jean de Reszke as _Raoul_ in "The Huguenots" 509
Ober and De Luca; Caruso and Hempel in "Martha" 548
Plançon as _Méphistophélès_ in "Faust" 549
Galli-Curci as _Juliette_ in "Roméo et Juliette" 578
Calvé as _Carmen_ with Sparkes as _Frasquita_, and Braslau as _Mercedes_ 579
Gadski as _Santuzza_ in "Cavalleria Rusticana" 614
Café Momus Scene, "La Bohème." Act II. _Mimi_ (Rennyson), _Musette_ (Joel), _Rudolph_ (Sheehan) 645
"Madama Butterfly." Act I. (Francis Maclennan, Renée Vivienne, and Thomas Richards) 665
Farrar as _Cio-Cio-San_ in "Madama Butterfly" 668
Destinn as _Minnie_, Caruso as _Johnson_, and Amato as _Jack Rance_ in "The Girl of the Golden West" 669
Alda as _Francesca_, and Martinelli as _Paolo_ in "Francesca da Rimini" 682
Bori and Ferrari-Fontana in "The Love of Three Kings" 683
Farrar as Catherine in "Mme. Sans-Gêne" 710
Caruso as _Samson_ in "Samson and Dalila" 726
Farrar and Amato as _Thaïs_ and _Athanaël_ 731
Farrar and Amato as _Thaïs_ and _Athanaël_ 735
Mary Garden in "Le Jongleur de Nôtre Dame" 739
Mary Garden as _Mélisande_ in "Pelléas and Mélisande" 754
Farrar as the _Goose Girl_ in "Königskinder" 776
Van Dyck and Mattfeld as _Hänsel_ and _Gretel_ 777
Hempel as the _Princess_ and Ober as _Octavian_ in "Der Rosenkavalier" 803
Scene from the Ballet in "Prince Igor" (with Rosina Galli) 820
Anna Case as _Feodor_, Didur as _Boris_, and Sparkes as _Xenia_ in "Boris Godounoff" 821
There are three great schools of opera,--Italian, French, and German. None other has developed sufficiently to require comment in this brief chapter.
Of the three standard schools, the Italian is the most frankly melodious. When at its best, Italian vocal melody ravishes the senses. When not at its best, it merely tickles the ear and offends common sense. "Aïda" was a turning point in Italian music. Before Verdi composed "Aïda," Italian opera, despite its many beauties, was largely a thing of temperament, inspirationally, but often also carelessly set forth. Now, Italian opera composers no longer accept any libretto thrust at them. They think out their scores more carefully; they produce works in which due attention is paid to both vocal and orchestral effect. The older composers still represented in the repertoire are Rossini, Bellini, Donizetti, and Verdi. The last-named, however, also reaches well over into the modern school of Italian opera, whose foremost living exponent is Puccini.