| Creator: | Weinreb, Heinrich |
| Title: | Cary Herz Libretto Collection |
| Collection No.: | MC117 |
| Dates: | Early 20th century |
| Quantity: |
Quantity: 46 Items Quantity: 1 box (TBD) |
| Abstract: | Early 20th century opera librettos and complete/partial performance programs donated to the Cook Music Library by Cary Herz in 2006. Includes 42 librettos (some including pages from performance programs) and one full performance program from the Vienna Opera. |
| Language: | Materials are largely in German, with descriptions and backgound information in English. |
| Repository: | Indiana University Jacobs School of Music William & Gayle Cook Music Library 200 South Jordan Avenue Bloomington, Indiana 47405 Business Number: 812-855-2970 libmus@iu.edu URL: https://libraries.indiana.edu/music |
This collection of early 20th century opera librettos was donated to Indiana Universiy's Cook Music Library by Cary Herz in 2006. This collection originally belonged to her mother Gertrud Herz, who inherited them from her father Heinrich Weinreb.
Heinrich Weinreb (born Chaim Weinreb) was born in Poland but moved to Austria as an infant with his brother and parents in the late 19th century. As an adult, Heinrich owned a Vienna bank, which Herz believed was most likely a small stock bank at the time. Heinrich and his wife Rosa would have been considered part of the upper-middle class in today's standards, and one of their favorite pastimes was to attend the opera (where Heinrich then began collecting some of the librettos housed in this collection). Later, with the start of World War I, Heinich expected to be drafted into service. In an attempt to avoid service he inlisted the help of his brother, a dentist, to pull all of his teeth. This ruse however did not work, and he was later drafted and served in the Austrian army during the war and wore dentures for th rest of his life.
Years later, during the build-up to World War II, the Nazis took over Heinrich's bank. Heinrich and Rosa later escaped with their daughters Gertrud and Stella to Switzerland. The family had to leave behind most of their possessions in Austria. Among some of the possessions they took with them were cookbooks, lace linens, some large tapestries depicting Old Master paintings, Heinrich Kiddush Cup for Passover, and the opera librettos found in this collection. The family traveled next to Lichtenstein and then Versailles, France. It was here that Heinrich was able to send his daughters to the United States to live in the Bronx with his brother-in-law Oscar Steinhardt and his wife Rose. Shortly after the girld left, Heinrich was imprisoned by the Nazis in Paris. His wife Rosa, who did not speak any French, was able to somehow arrange for his release, though no one in the family knows exaclty how she accomplished that. Soon afterward, Heinrich and Rosa were able to escape Paris and join their daughter in the Bronx.
After emigrating to the U.S., Heinrich tried to get a job on Wall Street with his experience as a banker. He was unfortunately unsuccessful and instead found work at a printing plant, a very hard physical job. The family learned to speak english largely through listening to the radio and rarely spoke German except to each other. Cary Herz recalled that her grandfather was always very proper; he always wore a suit and was very strict.
Heinrich passed away in 1966, and his wife Rosa later followed in 1975. The librettos were passed down to their daughter Gertrud and, when she passed away in 2004, resulted in Cary's inheritance of the collection. This collection was a treasued reminder of the many performances Heinrich and Rosa attended at the Vienna opera house.
Heinrich Weinreb biographical information and collection's history provided by Cary Herz and Hollis Walker, friend of Cary Herz.
Materials are organized based on opera composer, starting most opera libretti to least in collection.
Access to this collection is limited to visitors of the Cook Music Library.
This collection was originally created and owned by Heinrich Weinreb while living in Austria. The collection was later passed down to his daughter Gertrud "Gert" Herz and later to her daughter Cary Herz in 2004. The collection came to the Cook Music Library from Herz's New Mexico residence via Hollis Walker, a friend and associate of Herz, in 2006.
[item], Cary Herz Libretto Collection, William & Gayle Cook Music Library, Indiana University, Bloomington.
This collection of early 20th century opera librettos was donated to the Indiana University Music Library in 2006 by Cary Herz through correspondence by her friend Hollis Walker.
Processed by Cook Music Library staff.
Completed in 2023
Quantity: 3 Item
Quantity: Documentation of libretto collection included within box. Documentation includes 1 introductory letter (1 page), background information on the existence of the collection (2 pages), and a brief inventory of the collection's contents (3 pages).
Language: English .
Quantity: 5 Items
Quantity: Libretti collected in the early 20th century from performances of works by Richard Wagner premiered between 1843-1869. Folder includes 4 libretti and 1 accompanying full performance program.
Language: German .
Quantity: 1 Item
Quantity: Libretto published in 1901 of Richard Wagner's opera "Der Fliegende Holländer"
(48 pages with cover intact. Signs of wear and age coloration in pages and cover. )Language: German .
Item Description: Libretto published in 1901 of Richard Wagner's opera "Der Fliegende Holländer," otherwise known as "The Flying Dutchman." First premiered in 1843, this libretto was published by Adolph Furstner, Berlin in 1901. The front cover includes a copied-for-print version of Wagner's signture as well as the company's publication symbol on the back cover. The libretto includes 48 pages with text and scene descriptions of the performance and a brief list of characters. The last page features a list of other popular pieces by Wagner printed under the publisher Adolph Furstner.
Synopsis: Summary: Every seven years, the Flying Dutchman, who is condemned to roam the sea for having defied God, is cast ashore and given the chance to seek redemption. Only the love of a woman, faithful and willing to sacrifice her life for him, can release him from his curse. Tempted by his wealth -and unaware of his destiny - a Norwegian sailor named Darland agrees to give the Dutchman his daughter Senta's hand in marriage. Betrothed to Erik, Senta nevertheless remains fascinated by the legend of the Flying Dutchman. When her father introduces the stranger she immediately promises to be faithful to the mysterious man forever. However, Erik's bitter argument with Senta causes this new relationship to unravel. Convinced he has been betrayed, the Dutchman reveals his curse before setting sail on his ghostly ship in his eternal quest for redemption. Desperately in love, Senta throws herself into the sea, saving the Dutchman's soul.
Synopsis: ACT I The Norwegian coast, 19th century. A storm has driven Daland's ship several miles from his home. Sending his crew off to rest, he leaves the watch in charge of a young steersman, who falls asleep as he sings about his girl. A ghostly schooner drops anchor next to Daland's ship. Its captain steps ashore and, with increasing despair, reflects on his fate: once every seven years he may leave his ship to find a wife. If she is faithful, she will redeem him from his deathless wandering. If not, he is condemned to sail the ocean until Judgment Day. Daland discovers the phantom ship, and the stranger, who introduces himself as "a Dutchman," tells him of his plight. The Dutchman offers gold and jewels for a night's lodging, and when he learns that Daland has a daughter, asks for her hand in marriage. Happy to have found a rich son-in-law, Daland agrees and sets sail for home.
ACT II Daland's daughter, Senta, is captivated by the portrait of a pale man in black—the Flying Dutchman. Her friends, working under the watchful eye of Mary, Senta's nurse, tease Senta about her suitor, Erik, who is a hunter, not a sailor. When the superstitious Mary refuses to sing a ballad about the Dutchman, Senta sings it herself. The song reveals that the Dutchman's curse was put on him for a blasphemous oath. To everyone's horror, Senta suddenly declares that she will be the woman to save him. Erik enters with news of the sailors' return. Alone with Senta, he reminds her of her father's wish to find her a husband and asks her to plead his cause, but she remains distant. Realizing how much the Dutchman's picture means to her, he tells her of a frightening dream in which he saw her embrace the Dutchman and sail away on his ship. Senta declares that this is what she must do, and Erik rushes off in despair. A moment later, the Dutchman enters. Senta stands transfixed. Daland follows and asks his daughter to welcome the stranger, whom he has brought to be her husband. Daland leaves, and the Dutchman, who is equally moved by the meeting, asks Senta if she will accept him. Unaware that she realizes who he is, he warns her of making a rash decision, but she vows to be faithful to him unto death. Daland is overjoyed to learn that his daughter has accepted the suitor.
ACT III At the harbor, the villagers celebrate the sailors' return. Baffled by the strange silence aboard the Dutchman's ship, they call out to the crew, inviting them to join the festivities. Suddenly the ghostly sailors appear, mocking their captain's quest in hollow chanting. The villagers flee in terror. Quiet returns and Senta appears, followed by the distressed Erik. He pleads with her not to marry the Dutchman since she has already pledged her love to him. The Dutchman, who has overheard them, lets go of all hope and boards his ship. When Senta tries to stop him, he explains she will escape damnation—the fate of those who betray him—only because she has not yet proclaimed her vows before God. He reveals his identity and Senta ecstatically replies that she knows who he is. As his ship pulls away, she throws herself into the sea, faithful unto death.
(Synopsis courtesy of The Metropolitan Opera)
Quantity: 1 Item
Quantity: Libretto published in 1901 of Richard Wagner's opera "Tannhäuser und der Sängerkrieg auf Wartburg"
(57 pages of text and scene descriptions with accompanying pages of ads from the publisher included in the back. Signs of wear and age coloration in pages and cover. )Language: German .
Item Description: Libretto published in 1901 of Richard Wagner's opera "Tannhäuser und der Sängerkrieg auf Wartburg," or "Tannhäuser." First premiered in 1845, this libretto was published by Adolph Furstner, Berlin in 1901. The front cover includes a copied-for-print version of Wagner's signture as well as the text "Heinreb Heinreb Beselteshafter" written in faded pencil in cursive script. The back cover features the publishing company's publication symbol and a stamp for "R. Löwit Bookshop" in Vienna. The libretto includes 57 pages with text and scene descriptions of the performance and a brief list of characters. The last several pages feature sheet music and ads of other popular pieces by Wagner printed under the publisher Adolph Furstner.
Synopsis: Summary: After leaving the charms of Venus, goddess of love, the poet Tannhaüser finds himself in the valley of Wartburg, where he is reunited with a group of knights he had left for no reason. Among them are his friend Wolfram von Eschenbach and Hermann, the landgrave, whose niece Elisabeth languishes in seclusion inside the castle. When Tannhaüser hears her name, he decides to take part in a singing contest there. Elisabeth is overjoyed to see him again. However, during the contest, while the knights sing the virtues of pure and sacred love, Tannhaüser improvises a song on sensual pleasures and his experience at Venusberg. The audience is shocked and the knights draw their swords, but in the end Tannhaüser is banished and must go to Rome to obtain the Pope's forgiveness. However, the Pope refuses to pardon Tannhaüser. On his way back to Venus, Tannhaüser is saved by Elisabeth's prayers, before dying at the foot of her funeral bier.
Synopsis: ACT I The minstrel Tannhäuser, having spent a year in the magical underground realm of Venus, the goddess of love, longs to return to the human world. He pays tribute to Venus in a song but ends by asking her to let him go. Surprised, Venus promises him even greater pleasures, but when he insists and repeats his pleas, she furiously dismisses him and curses his desire for salvation. Tannhäuser cries out that his hope rests with the Virgin Mary—and suddenly finds himself transported to a valley near the castle of the Wartburg.
A procession of pilgrims passes on the way to Rome. Tannhäuser is deeply moved and praises the wonders of God, as horns announce the arrival of a hunting party. It is Landgraf Hermann with his knights. Recognizing Tannhäuser as their long-lost friend, they beg him to return to the castle with them, but Tannhäuser is reluctant. Wolfram, one of the knights, reminds him that his singing once won him the love of Elisabeth, the Landgraf's niece. On hearing her name, Tannhäuser understands what he must do and joins his companions.
ACT II Elisabeth joyfully greets the Wartburg's Hall of Song, in which she hasn't set foot since Tannhäuser left. He is now led in by Wolfram. Elisabeth, at first shy and confused, tells Tannhäuser how she has suffered in his absence, but then joins him in praise of love. Landgraf Hermann is delighted to find his niece in the Hall of Song, and together they welcome their guests who have come for a song contest. The Landgraf declares that it is about "love" and promises the victor to receive whatever he asks from the hand of Elisabeth. Wolfram opens the contest with a heartfelt 36 tribute to idealized love. Tannhäuser, his thoughts still on Venus, replies with a hymn to worldly pleasures. Other singers counter his increasingly passionate declarations until Tannhäuser breaks out into his prize song to Venus, to the horror of the guests. As the men are about to draw their swords, Elisabeth intervenes herself between the parties to protect Tannhäuser and begs the knights for mercy. The Landgraf pronounces his judgment: Tannhäuser will be forgiven if he joins the pilgrims on their way to Rome to do penance. Tannhäuser rushes from the hall.
ACT III Several months later, Wolfram comes across Elisabeth praying at a shrine in the valley. A band of pilgrims, back from Rome, passes by, but Tannhäuser is not among them. Broken with grief, Elisabeth prays to the Virgin Mary to receive her soul into heaven. Wolfram gazes after her and asks the evening star to guide her way. Night falls, and a solitary pilgrim approaches. It is Tannhäuser, ragged and weary. He tells Wolfram of his devout penitence on the way to Rome—of his joy at seeing so many others pardoned, and of his despair when the Pope proclaimed that he could no more be forgiven for his sins than the papal staff bear green leaves again. Left without hope, all he wants now is to return to Venus. He summons her and she appears, just as Wolfram once again brings Tannhäuser to his senses by invoking Elisabeth's name. At this moment, Elisabeth's funeral procession comes winding down the valley. With a cry, Venus disappears. Tannhäuser implores Elisabeth to pray for him in heaven and collapses dead. As dawn breaks, another group of pilgrims arrives, telling of a miracle: The Pope's staff, which they bear with them, has blossomed.
(Synopsis courtesy of The Metropolitan Opera)
Quantity: 2 Items
Quantity: Libretto of Richard Wagner's opera "Die Meistersinger von Nürnberg." There is no publication date for this libretto, however it includes a full program pamphlet from the Vienna Operntheater dated April 22, 1923.
(144 pages of text and scene descriptions with accompanying pages of introductory material along with ads from the publisher and a place to record the viewer's thoughts on the performance included in the back. Signs of wear and age coloration in pages and cover. Some pages are very delicate and prone to ripping due to staples. Performance program must be handled with care as well. )Language: German .
Item Description: Libretto of Richard Wagner's opera "Die Meistersinger von Nürnberg," with accompanying performance program from the Vienna Operntheater in April of 1923. First premiered in 1868, this libretto was published by Steyrermühl in Vienna. The libretto is 144 pages including a section of introductory material followed by a brief list of characters, text and scene descriptions of the performance and a brief list of characters, a place for the viewer to record their thoughts, and ads placed by the publishing company of the libretto. The performance program features an image of the operntheater as well as the price of the pamphlet (1500 Kronen). Inside are several pages of advertisements for popular goods and services of the time. In the middle of the pamphlet is featured the actual program, printed in the style of a small advertising poster. it features the date of the performance as April 22, 1923 as well as the lead actors and a list of upcoming performances for their performance season.
Synopsis: Summary: This opera takes place in 16th century Nuremberg. The plot unfolds over twenty-four hours, around the Master Singers singing competition. The winner of the competition with be rewarded with their hand in marriage to Eva, a charming and mischievous young girl.
Synopsis: ACT I Nuremberg, 16th century. At St. Katherine's Church, the visiting young knight Walther von Stolzing approaches Eva, daughter of the wealthy goldsmith Pogner, who is attending mass with her companion, Magdalene. Eva tells her admirer that she is to be engaged the following day to the winner of a song contest held by the local guild of mastersingers. David, Magdalene's sweetheart and apprentice to the cobbler and mastersinger Hans Sachs, explains the rules of song composing to Walther, who is surprised by the complicated ins and outs of mastersinging. Meanwhile David's fellow apprentices set up for a preliminary trial singing. The masters arrive, including Eva's father, and Walther expresses his desire to become a mastersinger in order to ask for Eva's hand. The town clerk Beckmesser, a spiteful pedant who also wants to marry Eva, is immediately suspicious of the young knight. As proof that tradesmen value art, Pogner offers his daughter's hand as the prize for the next day's contest and explains that she can reject the winner, but must marry a mastersinger or can marry no one. Walther introduces himself and describes his natural, self-taught methods of musical composition, provoking mocking comments from Beckmesser. For his trial song, Walther sings an impulsive tune in praise of love and spring, breaking many of the masters' rules. Beckmesser vigorously keeps a count of his errors. Rejected by the masters, Walther leaves, while Sachs wonders about the unexpected appeal of Walther's song.
ACT II That evening in front of Pogner's house, David tells Magdalene about Walther's misfortune and Eva gets the disappointing news from Magdalene. Across the street, Sachs sits down to work in his doorway, but the memory of Walther's song distracts him. Eva appears, hoping to learn more about the knight's trial. When Sachs mentions that Beckmesser hopes to win her the next day, she suggests she wouldn't be unhappy if Sachs himself won the contest. Sachs, who has known Eva since she was a child, responds with paternal affection. Asked about Walther, he pretends to disapprove of the young man, which leads Eva to reveal her true feelings and to run off. In the street, she is met by Walther who convinces her to elope. The two hide as a night watchman passes. Sachs, who has overheard their conversation, decides to help the lovers but prevent their flight. He lights the street with a lantern, forcing Eva and Walther to stay put. Meanwhile Beckmesser arrives to serenade Eva. As he is about to begin, Sachs launches into a cheerful cobbler's song, much to the clerk's irritation, claiming he needs to finish his work. They agree that both would make progress if Beckmesser were to sing while Sachs marked any broken rules of style with his cobbler's hammer. Beckmesser finally sings his song, directing it at Magdalene who is impersonating Eva at a window of Pogner's house. Sachs frequently interrupts with hammer strokes, to Beckmesser's mounting anger. Walther and Eva observe the scene from their hiding place, bewildered at first, then amused. Confusion increases when David appears and attacks Beckmesser for apparently wooing Magdalene. Finally the night-shirted neighbors, roused from sleep, join in the general tumult until the sound of the night watchman's horn disperses them. Pogner leads Eva inside while Sachs drags Walther and David into his shop. The night watchman passes through the suddenly deserted street.
ACT III The next morning in Sachs's workshop, David apologizes for his unruly behavior. Alone, Sachs reflects on the world's madness. Walther arrives to tell Sachs of a wondrous dream he had. Recognizing a potential prize song, Sachs takes down the words and helps Walther to fashion them according to the rules of mastersinging. When they leave to dress for the contest, Beckmesser appears. He notices Walther's poem and, mistaking it for one of Sachs's own, pockets it. The returning cobbler tells him to keep it. Certain of his victory with a song written by Sachs, Beckmesser leaves. Now Eva arrives, pretending there is something wrong with her shoe. Walther returns, dressed for the festival, and repeats his prize song for her. Eva is torn between her love for Walther and her affection for Sachs, but the older man turns her towards the younger. When Magdalene arrives, Sachs promotes David to journeyman and asks Eva to bless the new song. All five reflect on their happiness—Sachs's tinged with gentle regret—then leave for the contest.
Guilds and citizens assemble in a meadow outside the city. The masters enter and the people cheer Sachs, who responds with a moving address in praise of art and the coming contest. Beckmesser is the first to sing. Nervously trying to fit Walther's verses to his own music he makes nonsense of the words, earning laughter from the crowd. He furiously turns on Sachs and runs off. Walther then steps forward and delivers the song. Entranced, the people proclaim him the winner, but Walther refuses the masters' necklace. Sachs convinces him to accept—tradition and its upholders must be honored, as must those who create innovation. Youth and age are reconciled, Walther has won Eva, and the people once again hail Sachs.
(Synopsis courtesy of The Metropolitan Opera)
Quantity: 1 Item
Quantity: Libretto of Richard Wagner's opera "Das Rheingold," the first piece of Wagner's cycle "Der Ring des Nibelungen."
(84 pages of text and scene descriptions with several accompanying sections of introductory material. Signs of wear and age coloration in pages and cover. Binding has become weak and already shows signs of tears in cover, handle with care. )Language: German .
Item Description: Libretto Richard Wagner's opera "Das Rheingold," the first piece of Wagner's cycle"Der Ring des Nibelungen." First premiered in 1869, this libretto was published sometime in the early 20th century by B. Schott's Sohne. Unfortunately, there is no publication/copyright or performance date available on this item. Introductory passages by Dr. Wilhem Ultmann include nine pages on the life and works of Richard Wagner as well as several pages on the subjects of the Ring cycle and "Das Rheingold." The following 84 pages include a brief list of characters as well as the performance text and scene descriptions.
Synopsis: Summary: The action in this piece takes place in legend, in the waters of the Rhine on and in the depths of the Earth and the home of the Gods. The Rhine Gold has been stolen by a dwarf before being recovered by Wotan, Lord of the Gods. The gold is then given to Fafner, a giant, as payment for the construction of the fortress which the Lord of the Gods had built for himself.
Synopsis:
In the depths of the Rhine, the three Rhinemaidens guard the Rhinegold, a treasure of immeasurable value. The Nibelung dwarf Alberich is dazzled by the sight of it. The girls explain that whoever wins the gold and forges it into a ring will gain power over the world, but must first renounce love. Frustrated by his unsuccessful attempts to catch one of the girls, Alberich curses love and steals the gold.
Wotan, lord of the gods, is reproached by his wife Fricka: he has promised to give Freia, goddess of youth, to the giants Fasolt and Fafner in return for their building a fortress for the gods. When the giants demand their reward, Loge, the god of fire, suggests an alternative payment: the ring Alberich has forged from the Rhinegold, and his other treasures. The giants agree, and Wotan and Loge leave for the Nibelungs' underground home.
Here they meet Alberich's brother Mime, who has forged the Tarnhelm, a magic helmet that transforms its wearer into any shape. Mime tells Wotan and Loge how Alberich has enslaved the Nibelungs to work for him. Alberich appears and mocks the gods. Loge asks for a demonstration of the Tarnhelm and Alberich turns himself into a dragon, then into a toad, which the gods capture. Dragged to the surface, the dwarf is forced to summon the Nibelungs to heap up the gold. Wotan wrests the ring from his finger. Shattered, Alberich curses the ring: ceaseless worry and death shall be the destiny of its bearer.
The giants return and agree to accept the gold. The gods have to give up even the Tarnhelm, but Wotan refuses to part with the ring. Erda, goddess of the earth, appears and warns him that possession of it will bring about the end of the gods. Wotan reluctantly gives the ring to the giants, and Alberich's curse claims its first victim as Fafner kills his brother in a dispute over the treasure. As the voices of the Rhinemaidens are heard, lamenting the loss of their gold, the gods walk toward their new home, which Wotan names Valhalla.
(Synopsis courtesy of The Metropolitan Opera)
Quantity: 4 Items
Quantity: Libretti collected in the early 20th century from performances of works by Richard Strauss premiered between 1905-1911. Folder includes 3 libretti and 1 accompanying performance program.
Language: German .
Quantity: 1 Item
Quantity: Libretto published in 1905 of Richard Strauss' opera "Salome."
(48 pages with cover faded but intact. Signs of wear and age coloration in pages and cover. )Language: German .
Item Description: Libretto published in 1905 of Richard Strauss' opera "Salome." First premiered in 1905, this libretto was published by Adolph Furstner in Berlin in 1905. The front cover includes a copied-for-print version of Strauss' signture as well as the company's publication symbol on the back cover. The libretto includes 48 pages with text and scene descriptions of the performance and a brief list of characters. The last page features a list of other popular pieces by Strauss printed under the publisher Adolph Furstner. The libretto is, in part, a German translation by Hedwig Lachmann of a 1891 French play of the same name by Oscar Wilde.
Synopsis: Summary:The opera takes palce in Tiberias, in Galilee at the beginning of the Common Era. Fleeing a banquet organised by King Herod, her stepfather and husband of her mother Herodias, Princess Salome, finds refuge on the terrace where she hears the voice of the Prophet Jochanaan rising from the cistern, cursing and preaching. Despite Herod's orders that no one should approach Jochanaan, Salome has the prophet brought to her and confesses her desire for him. Jochanaan curses and rejects her. Later, King Herod has promised Salome whatever she wants if she will only dance for him. Salome requests the head of the prophet on a silver platter. Herod offeres instead fine food and riches, but nothing else will do. Once she is presented with the prophet's head, Salome passionately kisses it on the lips, with desire bordering on hysteria. Horrified, Herod has her killed.
Synopsis:
At King Herod's palace, the young captain Narraboth admires the beautiful princess Salome, who sits at the banquet table with her stepfather, Herod, and his court. A page warns Narraboth that something terrible might happen if he continues to stare at the princess, but Narraboth won't listen. The voice of Jochanaan is heard from the cistern, where he is kept prisoner, proclaiming the coming of the Messiah, and two soldiers comment on the prophet's kindness and Herod's fear of him.
Suddenly Salome appears, disgusted with Herod's advances toward her and bored by his guests. Jochanaan's voice is heard again, cursing the sinful life of Salome's mother, Herodias. Salome asks about the prophet. The soldiers refuse to allow her to speak with him, but Narraboth, unable to resist her, orders that Jochanaan be brought forth from the cistern. At first terrified by the sight of the holy man, Salome quickly becomes fascinated by his appearance, begging him to let her touch his hair, then his skin, and finally his lips. Jochanaan forcefully rejects her. Narraboth, who can't bear Salome's desire for another man, stabs himself. Salome, not noticing him and beside herself with excitement, continues to beg for Jochanaan's kiss. The prophet tells her to save herself by seeking Christ and retreats into the cistern, cursing Salome.
Herod appears from the palace, looking for the princess and commenting on the strange look of the moon. When he slips in Narraboth's blood, he suddenly panics and has hallucinations. Herodias angrily dismisses his fantasies and asks him to go back inside with her, but Herod's attentions are now focused on Salome. He offers her food and wine, but she rejects his advances. From the cistern, Jochanaan resumes his tirades against Herodias, who demands that Herod turn the prophet over to the Jews. Herod refuses, maintaining that Jochanaan is a holy man and has seen God. His words spark an argument among the Jews concerning the true nature of God, and two Nazarenes talk about the miracles of Jesus. As Jochanaan continues to accuse her, Herodias demands that he be silenced.
Herod asks Salome to dance for him. She refuses, but when he promises to give her anything she wants, she agrees once she has made him swear to keep his word. Ignoring her mother's pleas not to, Salome dances seductively, removing her clothes. The delighted king wants to know what reward she would like, and she innocently asks for the head of Jochanaan on a silver platter. Horrified, the king refuses, while Herodias laughs approvingly at Salome's choice. Herod offers other rewards, but Salome insists and reminds Herod of his oath. The king finally gives in. As the executioner descends into the cistern, the princess anxiously and impatiently awaits her prize. When the prophet's head is brought to her, she passionately addresses Jochanaan as if he were still alive and finally kisses his lips. The terrified Herod, outraged and disgusted at Salome's behavior, orders the soldiers to kill her.
(Synopsis courtesy of The Metropolitan Opera)
Quantity: 1 Item
Quantity: Libretto published in 1908 of Richard Strauss' opera "Elektra."
(74 pages of text and scene descriptions followed by several music advertisements from publisher. Signs of wear and age coloration in pages and cover. Binding is ok but turn pages with care. )Language: German .
Item Description: Libretto published in 1908 of Richard Strauss' opera "Elektra." First premiered in 1909, this libretto was published by Adolph Furstner in Berlin in 1908. The front cover includes art of several persons drawn in what seems to be charcoal by Louis Corinth. The libretto includes 74 pages with text and scene descriptions of the performance and a brief list of characters. The last few pages feature a list of other popular pieces by Strauss printed under the publisher Adolph Furstner. The libretto is based of an early 1903 drama by the opera's librettist, Hugo von Hofmannsthal.
Synopsis: Summary: Elektra is set in the Greek city of Argos at the Palace of Mycenae, several years after the end of the Trojan War. It follows Elektra, daughter of King Agamemnon and Queen Klytaemnestra, who joins her brother, Orest, to exact vengeance on their mother and stepfather, Aegisth, for murdering their father and King.
Synopsis:
The courtyard of the Palace of Mycenae. The servants wonder whether Elektra will be grieving over her father, as is her daily ritual. Daughter of King Agamemnon and Klytämnestra, Elektra appears and locks herself up in solitude straight away. The servants all criticize and mock her, except for one, who comes to her defense.
By herself, Elektra remembers how Agamemnon was assassinated upon his return from Troy, slain with an axe by Klytämnestra and her lover, Aegisth. Devastated with grief, Elektra is obsessed with the revenge she intends to take together with her sister, Chrysothemis, and her brother, Orest. The latter grew up far away from the palace, and Elektra keenly waits for him to return.
Chrysothemis interrupts Elektra, who is caught up in her thoughts, and warns her that Klytämnestra and Aegisth have decided to lock her up in a tower. Chrysothemis asks her sister to renounce vengeance and let life take over again. Elektra rejects the idea with disdain.
Klytämnestra arrives with her entourage. She has been preparing sacrifices, hoping to pacify the gods as she suffers from nightmares. She wants to talk to Elektra, and when her daughter's words are more amenable than usual, Klytämnestra sends off her retinue and remains alone with the girl. Klytämnestra asks her daughter what remedy could restore her sleep, and Elektra reveals that a sacrifice may indeed free her from her nightmares. But when the queen, full of hope, asks who needs to be killed, Elektra replies that it is Klytämnestra herself who must die. Elektra goes on to describe with frenzied elation how her mother will succumb under Orest's blows. Then the court is thrown into a panic: Two strangers have arrived and asked to be seen. The queen receives a message and leaves immediately without saying a single word to Elektra.
Chrysothemis frantically brings Elektra the terrible news: Orest is dead. At first, Elektra remains deaf to what has been said. Then, having lost all hope, she concludes that she and her sister must themselves take their vengeance without further delay. But Chrysothemis refuses to commit such a deed and flees. Elektra curses her, realizing that she will have to act alone.
One of the strangers, who claims to be a friend of Orest and has come to bear the news of his death, has now been at the court for a while. Elektra besieges him with questions. When she reveals her name, he is shaken. She doesn't recognize him until the servants of the palace throw themselves at his feet: It is Orest who stands before her, Orest who tricked everyone into believing he was dead in order to sneak into the palace. Elektra is both elated and in despair—she feels immeasurable fondness for her brother and deep sadness about the life of a recluse she has chosen for herself. The two are interrupted by Orest's guardian: The hour of vengeance has arrived, and the deed Orest has come to perform now needs to be done. Orest enters the palace. Elektra listens for the slightest noise. Klytämnestra is heard screaming as Orest slays her.
There is a moment of panic when the servants hear cries, but they flee when they learn that Aegisth is returning from the fields. As the sun is setting, he encounters Elektra, who, in a suddenly joyful mood, offers to light his way into the house. He discovers Klytämnestra's body before Orest kills him as well.
Chrysothemis comes out of the palace and tells her sister about their brother's return and the double murder of Klytämnestra and Aegisth. Elektra, hovering between ecstasy and madness, maintains that only silence and dance can celebrate their liberation. Beset by extreme frenzy, she dances until she drops: She will never be the one to have executed the act of revenge. Orest leaves the palace, alone and in silence.
(Synopsis courtesy of The Metropolitan Opera)
Quantity: 2 Item
Quantity: Libretto of Richard Strauss' opera "Der Rosenkavalier." Copyrighted 1910-1911, this libretto also features a page of a program pamphlet from a performance dated December 3, 1915.
(150 pages of text and scene descriptions with accompanying pages of introductory material along with a page of advertisements from the publisher. The front cover is in fair condition with the back cover featuring tears and a few stains. Signs of age coloration in front of book where program page was placed. Pages in fair condition. Performance page is in fair condition with page coloration and minor tears along the top right corner. )Language: German .
Item Description: Libretto of Richard Strauss' opera "Der RosenKavalier," with accompanying page of a performance program. First premiered in 1911, this libretto was copyrighted by Adolph Furstner in Berlin. The libretto is 150 pages including a brief list of characters, text and scene descriptions of the performance, and ads placed by the publishing company of the libretto. The performance program features the date of the performance as December 3, 1915 as well as the lead actors and a list of upcoming performances for their performance season.
Synopsis: Summary: The opera takes place in Vienna, during the second half of the 18th century. As The Marschallin, Princess von Werdenberg, awakes from a night with her young lover Octavian, her country cousin, Baron Ochs, barges in to announce his engagement to a young woman, named Sophie. According to tradition, he needs a knight to present a silver rose to his beloved. Octavian is chosen to perform this task. However, when he goes to present the rose to Sophie, the two young people fall in love at first sight. Sophie no longer wants to marrying the vulgar Ochs, who thinks himself a charming ladies-man. Octavian sets a trap for Ochs, who is surprised by the ruse and must give up on his engagement to Sophie. The Marschallin then reluctantly releases Octavian, who is free to pursue his love for Sophie.
Synopsis:
ACT I Vienna, during the last years of the Habsburg Empire. The Marschallin, Princess von Werdenberg, has spent the night with her young lover, Octavian, Count Rofrano. He hides when a page brings breakfast, then again when loud voices are heard in the antechamber. The unexpected visitor is the Marschallin's country cousin, Baron Ochs auf Lerchenau. Bursting into the room, he brags about his amorous conquests and his upcoming marriage to Sophie von Faninal, the young daughter of a wealthy bourgeois. When he asks the Marschallin for advice as to which cavalier could present Sophie with the traditional silver engagement rose, she suggests Octavian—who suddenly, to avoid discovery, emerges from his hiding place disguised as a chambermaid. The baron instantly starts to make advances towards "Mariandel," who quickly makes her escape as the room fills with the daily crowd of petitioners and salespeople. Among them is a singer, whose aria is cut short by Ochs's wrangling with a lawyer over Sophie's dowry. The Baron hires a pair of Italian intriguers, Annina and Valzacchi, to locate the shy servant girl.
When the room is cleared, the Marschallin, appalled by the thought of the rude Ochs marrying the innocent young girl, muses on her own waning youth. The returning Octavian is surprised to find her in a distant and melancholy mood. He passionately declares his love but she can only think about the passing of time and tells him that one day he will leave her for a younger woman. Hurt, he rushes off. The Marschallin tries to call him back, but it is too late. She summons her page and sends Octavian the silver rose.
ACT II On the morning of her engagement, Sophie excitedly awaits the arrival of the cavalier of the rose. Octavian enters and presents her with the silver rose on behalf of the Baron. Sophie accepts, enraptured, and the two young people feel an instant attraction to each other. When Ochs, whom Sophie has never met, arrives, the girl is shocked by his crude manners. Ochs goes off to discuss the wedding contract with Faninal, and Sophie asks Octavian for help. They end up embracing and are surprised by Annina and Valzacchi, who summon Ochs. The outraged Octavian grazes the Baron's arm with his rapier and Ochs melodramatically calls for a doctor. In the ensuing confusion, Sophie tells her father that she will not marry the Baron, while Octavian enlists Annina and Valzacchi to participate in an intrigue he is hatching. When Ochs is alone, nursing his wound with a glass of wine, Annina, sent by Octavian, appears with a letter from "Mariandel," asking Ochs to a rendezvous. Intoxicated with his own charm, the Baron is delighted at the prospect of a tête-à-tête. When he refuses to tip Annina, she determines to get even.
ACT III At Octavian's instigation, Annina and Valzacchi prepare the back room of a dingy inn for Ochs's rendezvous. Before long, the Baron and "Mariandel" arrive for a private supper. As she coyly leads him on, grotesque apparitions pop out of windows and secret panels, terrifying the Baron. Annina, disguised as a widow, runs in crying that Ochs is the father of her many children. When the police appear, Ochs claims that "Mariandel" is his fiancée. The arriving Faninal, furious at his future son-in-law's behavior, summons Sophie to set matters straight, then faints and is carried off. At the height of the confusion, the Marschallin enters. Octavian takes off his disguise and the Marschallin explains to Ochs that it was all a farce. He finally admits defeat and leaves, pursued by the innkeeper and various other people who all demand payment of their bills. Left alone with Octavian and Sophie, the Marschallin laments that she must lose her lover so soon, but nevertheless accepts the truth. She gives the bewildered Octavian to Sophie and quietly leaves the room. The young lovers realize that their dream has come true.
(Synopsis courtesy of The Metropolitan Opera)
Quantity: 5 Items
Quantity: Libretti collected in the early 20th century from performances of works by Giuseppe Verdi premiered between 1851-1871. Folder includes 4 libretti and 1 accompanying performance program.
Language: German .
Quantity: 2 Items
Quantity: Libretto of Guiseppe Verdi's opera "Amelia," more commonly known as "Un ballo in maschera," with no available copyright/publication date. A German translation of the original Italian, this libretto also features a page of a program pamphlet from a performance dated March 7, 1915.
(59 pages of text and scene descriptions followed by several pages of advertisements from the publisher. The cover is in fair condition but features several tears and stains on both the front and back cover as well as along spine. Pages in fair condition but feature folds in bottom corners. Binding is delicate due to damage near staples, handle with care. Performance page is in okay condition with page coloration and minor tears along sides of the document. )Language: German .
Item Description: German libretto of Giuseppe Verdi's Italian opera "Un ballo in maschera," here titled as "Amelia (Der Maskenball)." This libretto also features an accompanying page of a performance program. First premiered in 1859 in its original iteration, this libretto was copyrighted by Ed. Bote and G. Bork in Berlin. The libretto is 59 pages including a brief list of characters, text and scene descriptions of the performance, and ads placed by the publishing company of the libretto. The performance program features the date of the performance as April 7, 1915 as well as the lead actors and a list of upcoming performances for their performance season.
Synopsis: Controversy and Censorship: The plot of the opera concerns the 1792 assassination of King Gustav III of Sweden, where he was shot while attending a masked ball. After two years of production, it premiered performance at the Teatro Apollo in Rome, 1859. Verdi's opera (and his libretto) underwent a significant amount of transformations and title changes, caused by a combination of censorship regulations in both Naples and Rome, as well as the political situation in France in January 1858. Where it started as Gustavo III set in Stockholm, it became "Una vendetta in domino" set in Stettin, and finally "Un ballo in maschera" set in Boston during the colonial era. Today it has become more common practice to perform the opera in its original 18th-century Stockholm setting, however this libretto covers the German translation of "Un ballo in machera" in colonial Boston.
Synopsis: Act I Riccardo, the Governor of Boston, is the unwitting target of a murder conspiracy led by the revolutionaries Samuel and Tom. Oscar, Riccardo's page, gives him the guest list for a masked ball. Riccardo, seeing on the list the name of Amelia — the wife of his secretary, Renato — muses on his secret passion for her. Renato then enters and warns Riccardo that there is a conspiracy against him, but Riccardo does not believe it. A magistrate arrives with a decree banishing the fortune-teller Ulrica, who is accused of witchcraft. When Riccardo asks Oscar's opinion, the youth describes her skill at astrology and urges him to absolve her. Deciding to see for himself, and overruling the objections of Renato, Riccardo light-heartedly invites everyone to join him in an incognito visit to the witch. As Ulrica mutters incantations before a group of women, Riccardo discreetly enters disguised as a fisherman. Ulrica begins her prophecies by telling the sailor Silvano that he will soon prosper. Riccardo surreptitiously slips money and a promotion into the satchel of the seaman, who discovers it and marvels at the fortune-teller's powers. When Ulrica sends her visitors away, Riccardo remains behind and hides. He watches while Ulrica grants an audience to Amelia, who comes seeking release from her love for Riccardo. Ulrica tells her she must gather at night a magic herb that grows by the gallows. Amelia hurries away, and Riccardo resolves to follow her. But Oscar and the others arrive, and Riccardo, still in disguise, mockingly asks Ulrica to read his palm. When she says he will die by the hand of a friend, Riccardo laughs. Riccardo asks her to identify the assassin, to which she replies that the next hand he shakes is the one that will kill him. No one will shake "the fisherman's" hand, but upon seeing Renato arrive, Riccardo hurries to clasp his hand and says that the prophesy is now disproven, because Renato is his most loyal friend. Riccardo is recognized, and is hailed by the crowd above the discontented mutterings of the conspirators.
Act II Amelia arrives at the gallows and desperately prays that the herb she seeks will release her from her passion for Riccardo. As a distant bell tolls midnight, she is terrified by an apparition and prays to heaven for mercy. Riccardo arrives, and, unable to resist him, Amelia confesses her love. She quickly veils her face when her husband Renato rushes in to warn Riccardo that assassins are approaching. Riccardo, fearing that Renato may discover Amelia's identity, leaves only after Renato promises to escort her back to the city without lifting her veil. Samuel, Tom, and their co-conspirators arrive and are dismayed to find Renato instead of their intended victim. Renato draws his sword when they make insolent remarks about his veiled companion; to save her husband's life, Amelia raises her veil. While the conspirators laugh at this irony, Renato asks Samuel and Tom to come to his house the next morning. Amelia laments her disgrace.
Act III Renato tells Amelia that he intends to kill her, but she asks to see her young son before she dies. Granting her wish, Renato turns to a portrait of Riccardo and exclaims that it is not on Amelia that he should seek vengeance, but on Riccardo. He is interrupted by Samuel and Tom; now united in purpose, they cannot agree who should have the privilege of assassinating Riccardo. Amelia returns just as the men prepare to draw lots. Forcing his wife to choose the fatal slip of paper from a vase, Renato rejoices when she draws his name. A moment later Oscar brings an invitation to the masked ball. While the men hail this chance to execute their plan, Amelia vows to warn Riccardo.
Riccardo resolves to renounce his love, and to send Amelia and Renato to England. Oscar delivers a letter from an unknown lady warning Riccardo of the murder plot. Not wanting his absence to be taken as a sign of cowardice, Riccardo leaves for the masquerade.
The conspirators wander through the crowded ballroom trying to find Riccardo, who is masked for the ball. Renato takes Oscar aside and with some difficulty persuades the youth to reveal Riccardo's identity. Recognizing Amelia, Riccardo declares his love again. Despite her repeated warnings, he refuses to leave. Just as the lovers bid a final farewell, Renato, overhearing the last part of their conversation, stabs Riccardo. As Riccardo lies dying, he forgives Renato and the conspirators. Riccardo admits that he loved Amelia, but assures Renato that she is innocent, showing him the order for their repatriation to England. The crowd bewails the loss of their generous-hearted governor as Renato is consumed by remorse.
(Synopsis courtesy of Regina Opera Company)
Quantity: 1 Items
Quantity: Libretto of Guiseppe Verdi's opera "Aida," with no available copyright/publication date. This libretto is a German translation of the original Italian text.
(48 pages of text and scene descriptions. The cover is in fair condition but features several tears and stains on both the front and back cover as well as along spine. Pages in delicate condition with slight tears and folds in bottom corners. Binding is squished to the side with pages 23-26 loose, handle with care. )Language: German .
Item Description: German libretto of Giuseppe Verdi's Italian opera "Aida." First premiered in 1871, this libretto was published under Ed. Bote and G. Bork in Berlin and printed in Italy. The libretto is 48 pages including a brief list of characters and text and scene descriptions of the performance.
Synopsis: Summary: In ancient Egypt, on the cusp of war between Egypt and Ethiopia, the Egyptian general Radames is in love with an Ethiopian woman named Aida. Aida is the slave of Princess Amneris, the daughter of the King of Egypt, who is also in love with Radames. After the Egyptian troops are victorious, a triumph for Radames, king betroths his daughter's hand in marriage as a reward. However, later accused of betraying his country by revealing military secrets to Aïda, who is revealed to be the daughter of the King of Ethiopia, Amonasro, he is sentenced to be buried alive. Radames accepts his fate, to the dismay of Amneris. In the darkness of his tomb, Radames finds Aïda who has come to join him and die by his side.
Synopsis: ACT I Egypt, during the reign of the pharaohs. At the royal palace in Memphis, the high priest Ramfis tells the warrior Radamès that Ethiopia is preparing another attack against Egypt. Radamès hopes to command his army. He is in love with Aida, the Ethiopian slave of Princess Amneris, the king's daughter, and he believes that victory in the war would enable him to free her and marry her. But Amneris loves Radamès, and when the three meet, she jealously senses his feelings for Aida. A messenger tells the King of Egypt and the assembled priests and soldiers that the Ethiopians are advancing. The king names Radamès to lead the army, and all join in a patriotic anthem. Left alone, Aida is torn between her love for Radamès and loyalty to her native country, where her father, Amonasro, is king. She prays to the gods for mercy. In the temple of Vulcan, the priests consecrate Radamès to the service of the god. Ramfis orders him to protect the homeland.
ACT II Ethiopia has been defeated, and Amneris waits for the triumphant return of Radamès. When Aida approaches, the princess sends away her other attendants so that she can learn her slave's private feelings. She first pretends that Radamès has fallen in battle, then says he is still alive. Aida's reactions leave no doubt that she loves Radamès. Amneris, certain she will be victorious over her rival, leaves for the triumphal procession. At the city gates the king and Amneris observe the celebrations and crown Radamès with a victor's wreath. Captured Ethiopians are led in. Among them is Amonasro, Aida's father, who signals his daughter not to reveal his identity as king. Radamès is impressed by Amonasro's eloquent plea for mercy and asks for the death sentence on the prisoners to be overruled and for them to be freed. The king grants his request but keeps Amonasro in custody. The king declares that as a victor's reward, Radamès will have Amneris's hand in marriage.
ACT III On the eve of Amneris's wedding, Ramfis and Amneris enter a temple on the banks of the Nile to pray. Aida, who is waiting for Radamès, is lost in thoughts of her homeland. Amonasro suddenly appears. Invoking Aida's sense of duty, he makes her agree to find out from Radamès which route the Egyptian army will take to invade Ethiopia. Amonasro hides as Radamès arrives and assures Aida of his love. They dream about their future life together, and Radamès agrees to run away with her. Aida asks him about his army's route, and just as he reveals the secret, Amonasro emerges from his hiding place. When he realizes that Amonasro is the Ethiopian king, Radamès is horrified by what he has done. While Aida and Amonasro try to calm him, Ramfis and Amneris step out of the temple. Father and daughter are able to escape, but Radamès surrenders to the priests.
ACT IV Radamès awaits trial as a traitor, believing Aida to be dead. Even after he learns that she has survived, he rejects an offer by Amneris to save him if he renounces Aida. When he is brought before the priests, he refuses to answer their accusations and is condemned to be buried alive. Amneris begs for mercy, but the judges will not change their verdict. She curses the priests. Aida has hidden in the vault to share Radamès's fate. They express their love for the last time while Amneris, in the temple above, prays for Radamès's soul.
(Synopsis courtesy of The Metropolitan Opera)
Quantity: 1 Item
Quantity: Libretto of Guiseppe Verdi's opera "Rigoletto," with no available copyright/publication date. This libretto is a German translation of the original Italian text.
(40 pages of text and scene descriptions. Back cover is falling off spine with various stains and small tears. Pages in okay condition with slight tears and age coloration throughout. Handle with care. )Language: German .
Item Description: First premiered in 1851, this libretto was published under the firm of Adolf W. Kunast. The libretto includes 40 pages of text including a brief list of characters and text and scene descriptions of the performance. There are also brief advertisments placed by the publishing company on the inside of the back cover.
Synopsis: Summary: In the 16th century, Rigoletto is the jester to the Duke of Mantua, a depraved seducer. Outside of court, Rigoletto is secretly protecting his daughter Gilda from dangers and from the looks of others. Gilda, Rigoletto's daughter, is then seduced by the Duke of Mantua and carried off by courtiers who take her to their master's bedroom. Rigoletto feels dishonoured and undertakes revenge against the Duke, who runs off to get his fill of other women once Gilda has been seduced. The jester hires the assassin Sparafucile to kill the Duke in the middle of the night. However, Gilda, smitten to the end by the Duke, slips secretly into his place just as the assassin strikes, and falls under his shots. Rigoletto finds the body of his daughter; remembering the curse of Monterone.
Synopsis: ACT I At a party in his palace, the Duke of Mantua boasts of his way with women. He dances with the Countess Ceprano, and his hunchbacked jester, Rigoletto, mocks the countess's enraged but helpless husband. The courtier Marullo bursts in with the latest gossip: Rigoletto is suspected of keeping a young mistress in his home. The jester, unaware of the courtiers' talk, continues to taunt Ceprano, who plots with the others to punish Rigoletto. Monterone, an elderly nobleman, forces his way into the crowd to denounce the duke for seducing his daughter and is viciously ridiculed by Rigoletto. Monterone is arrested and curses Rigoletto. Rigoletto hurries home, disturbed by Monterone's curse. He encounters Sparafucile, a professional assassin, who offers his services. The jester reflects that his own tongue is as sharp as the murderer's dagger. Rigoletto enters his house and warmly greets his daughter, Gilda. Afraid for the girl's safety, he warns her nurse, Giovanna, not to let anyone into the house. When the jester leaves, the duke appears and bribes Giovanna, who lets him into the garden. He declares his love for Gilda, who has secretly admired him at church, and tells her he is a poor student. After he leaves, she tenderly thinks of her newfound love before going to bed. The courtiers gather outside the garden intending to abduct Rigoletto's "mistress." Meeting the jester, they quickly change their story and fool him into wearing a blindfold and holding a ladder against his own garden wall; then they carry off Gilda. Rigoletto, rushing into the house, realizes his daughter is gone and collapses as he remembers Monterone's curse.
ACT II In his palace, the duke is distraught about the abduction of Gilda. When the courtiers return and tell him the story of how they took the girl from Rigoletto's house and left her in the duke's chamber, the duke hurries off to the conquest. Rigoletto enters, looking for Gilda. The courtiers are astonished to find out that she is his daughter rather than his mistress but prevent him from storming into the duke's chamber. The jester violently accuses them of cruelty, then asks for compassion. Gilda appears and runs in shame to her father, who orders the others to leave. Alone with Rigoletto, Gilda tells him of the duke's courtship, then of her abduction. When Monterone passes by on his way to execution, the jester swears that both he and the old man will be avenged. Gilda begs her father to forgive the duke.
ACT III Rigoletto and Gilda arrive at an inn on the outskirts of Mantua where Sparafucile and his sister Maddalena live. Inside, the duke laughs at the fickleness of women. Gilda and Rigoletto watch through the window as the duke amuses himself with Maddalena. The jester sends Gilda off to Verona disguised as a boy and pays Sparafucile to murder the duke. Gilda returns to overhear Maddalena urge her brother to spare the handsome stranger and kill the hunchback instead. Sparafucile refuses to murder Rigoletto but agrees to kill the next stranger who comes to the inn so that he will be able to produce a dead body. Gilda decides to sacrifice herself for the duke. She knocks at the door and is stabbed. Rigoletto returns to claim the body, which he assumes is the duke's. As he gloats over the sack Sparafucile has given him, he hears his supposed victim singing in the distance. Frantically tearing open the sack, he finds his daughter, who dies asking his forgiveness. Horrified, Rigoletto remembers Monterone's curse.
(Synopsis courtesy of The Metropolitan Opera)
Quantity: 1 Item
Quantity: Libretto of Guiseppe Verdi's opera "Rigoletto," with no available copyright/publication date. This libretto is a German translation of the original Italian text.
(93 pages of text and scene descriptions. Spine is squished with slight rips, folds, and aging on front and back cover. Pages are worn but ok, however delicate due to the binding. Handle with care. )Language: German .
Item Description: First premiered in 1851, this libretto was published under the firm of Philipp Reclam Jr.. The libretto includes 93 pages of text including introductory material, a brief list of characters, and text and scene descriptions of the performance. There are also brief advertisments placed by the publishing company on the last page and inside of the back cover.
Synopsis: Summary: In the 16th century, Rigoletto is the jester to the Duke of Mantua, a depraved seducer. Outside of court, Rigoletto is secretly protecting his daughter Gilda from dangers and from the looks of others. Gilda, Rigoletto's daughter, is then seduced by the Duke of Mantua and carried off by courtiers who take her to their master's bedroom. Rigoletto feels dishonoured and undertakes revenge against the Duke, who runs off to get his fill of other women once Gilda has been seduced. The jester hires the assassin Sparafucile to kill the Duke in the middle of the night. However, Gilda, smitten to the end by the Duke, slips secretly into his place just as the assassin strikes, and falls under his shots. Rigoletto finds the body of his daughter; remembering the curse of Monterone.
Synopsis: ACT I At a party in his palace, the Duke of Mantua boasts of his way with women. He dances with the Countess Ceprano, and his hunchbacked jester, Rigoletto, mocks the countess's enraged but helpless husband. The courtier Marullo bursts in with the latest gossip: Rigoletto is suspected of keeping a young mistress in his home. The jester, unaware of the courtiers' talk, continues to taunt Ceprano, who plots with the others to punish Rigoletto. Monterone, an elderly nobleman, forces his way into the crowd to denounce the duke for seducing his daughter and is viciously ridiculed by Rigoletto. Monterone is arrested and curses Rigoletto. Rigoletto hurries home, disturbed by Monterone's curse. He encounters Sparafucile, a professional assassin, who offers his services. The jester reflects that his own tongue is as sharp as the murderer's dagger. Rigoletto enters his house and warmly greets his daughter, Gilda. Afraid for the girl's safety, he warns her nurse, Giovanna, not to let anyone into the house. When the jester leaves, the duke appears and bribes Giovanna, who lets him into the garden. He declares his love for Gilda, who has secretly admired him at church, and tells her he is a poor student. After he leaves, she tenderly thinks of her newfound love before going to bed. The courtiers gather outside the garden intending to abduct Rigoletto's "mistress." Meeting the jester, they quickly change their story and fool him into wearing a blindfold and holding a ladder against his own garden wall; then they carry off Gilda. Rigoletto, rushing into the house, realizes his daughter is gone and collapses as he remembers Monterone's curse.
ACT II In his palace, the duke is distraught about the abduction of Gilda. When the courtiers return and tell him the story of how they took the girl from Rigoletto's house and left her in the duke's chamber, the duke hurries off to the conquest. Rigoletto enters, looking for Gilda. The courtiers are astonished to find out that she is his daughter rather than his mistress but prevent him from storming into the duke's chamber. The jester violently accuses them of cruelty, then asks for compassion. Gilda appears and runs in shame to her father, who orders the others to leave. Alone with Rigoletto, Gilda tells him of the duke's courtship, then of her abduction. When Monterone passes by on his way to execution, the jester swears that both he and the old man will be avenged. Gilda begs her father to forgive the duke.
ACT III Rigoletto and Gilda arrive at an inn on the outskirts of Mantua where Sparafucile and his sister Maddalena live. Inside, the duke laughs at the fickleness of women. Gilda and Rigoletto watch through the window as the duke amuses himself with Maddalena. The jester sends Gilda off to Verona disguised as a boy and pays Sparafucile to murder the duke. Gilda returns to overhear Maddalena urge her brother to spare the handsome stranger and kill the hunchback instead. Sparafucile refuses to murder Rigoletto but agrees to kill the next stranger who comes to the inn so that he will be able to produce a dead body. Gilda decides to sacrifice herself for the duke. She knocks at the door and is stabbed. Rigoletto returns to claim the body, which he assumes is the duke's. As he gloats over the sack Sparafucile has given him, he hears his supposed victim singing in the distance. Frantically tearing open the sack, he finds his daughter, who dies asking his forgiveness. Horrified, Rigoletto remembers Monterone's curse.
(Synopsis courtesy of The Metropolitan Opera)
Quantity: 4 Items
Quantity: Libretti collected in the early 20th century from performances of works by Bedřich Smetana premiered between 1866-1868. Folder includes 2 libretti and 2 accompanying performance programs.
Language: German .
Quantity: 2 Items
Quantity: Libretto of Bedřich (Freidrich) Smetana's opera "Die Verkaufte Braut," or "The Bartered Bride." No copyright or publication date listed by publisher. This libretto also features a page of a program pamphlet from a performance dated December 15, 1915.
(56 pages of text and scene descriptions with accompanying pages of opera synopsis and a page of advertisements from the publisher. The front and back covers are in fair condition with slight signs of creasing and a few stains. Pages in fair condition. Performance page is in fair condition but delicate to unfold from how it was originally placed in the booklet. )Language: German .
Item Description: Libretto of Bedřich (Freidrich) Smetana's opera "Die Verkaufte Braut," perhaps better known as "The Bartered Bride." First premiered in 1866, this libretto was published by Ed. Bote and G. Bork in Berlin. The libretto includes 56 pages with text and scene descriptions of the performance, a brief list of characters, a synopsis, and a single page of advertisments added in the beginning of the booklet by the publisher. While originally performed in Czech with libretto by Karel Sabina, this copy is a German translation done by Max Kalbeck. The performance program features the date of the performance as December 15, 1915 as well as the lead actors and a list of upcoming performances for their performance season.
Synopsis: Summary: Set in a country village, "Die Verkaufte Braut" tells the story of how, after a late surprise revelation, true love prevails over the combined efforts of ambitious parents and a scheming marriage broker.
Synopsis: Act 1 A crowd of villagers is celebrating at the church fair. Among them are Mařenka and Jeník. Mařenka is unhappy because her parents want her to marry someone she has never met. They will try to force her into this, she says. Her desires are for Jeník even though, as she explains in her aria "If I should ever learn", she knows nothing of his background. The couple then declare their feelings for each other in a passionate duet. As the pair leave separately, Mařenka's parents, Ludmila and Krušina, enter with the marriage broker Kecal. After some discussion, Kecal announces that he has found a groom for Mařenka – Vašek, younger son of Tobiáš Mícha, a wealthy landowner; the older son, he explains, is a worthless good-for-nothing. Kecal extols the virtues of Vašek, as Mařenka re-enters. In the subsequent quartet she responds by saying that she already has a chosen lover. Send him packing, orders Kecal. The four argue, but little is resolved. Kecal decides he must convince Jeník to give up Mařenka, as the villagers return, singing and dancing a festive polka.
Act 2 The men of the village join in a rousing drinking song, while Jeník and Kecal argue the merits, respectively, of love and money over beer. The women enter, and the whole group joins in dancing a furiant. Away from the jollity the nervous Vašek muses over his forthcoming marriage in a stuttering song. Mařenka appears, and guesses immediately who he is, but does not reveal her own identity. Pretending to be someone else, she paints a picture of "Mařenka" as a treacherous deceiver. Vašek is easily fooled, and when Mařenka, in her false guise, pretends to woo him, he falls for her charms and swears to give Mařenka up. Meanwhile, Kecal is attempting to buy Jeník off, and after some verbal fencing makes a straight cash offer: a hundred florins if Jeník will renounce Mařenka. Not enough, is the reply. When Kecal increases the offer to 300 florins, Jeník pretends to accept, but imposes a condition – no one but Mícha's son will be allowed to wed Mařenka. Kecal agrees, and rushes off to prepare the contract. Alone, Jeník ponders the deal he has apparently made to barter his beloved, wondering how anyone could believe that he would really do this, and finally expressing his love for Mařenka. Kecal summons the villagers to witness the contract he has made. He reads the terms: Mařenka is to marry no one but Mícha's son. Krušina and the crowd marvel at Jeník's apparent self-denial, but the mood changes when they learn that he has been paid off. The act ends with Jenik being denounced by Krušina and the rest of the assembly as a rascal.
Act 3 Vašek expresses his confusions in a short, sad song, but is interrupted by the arrival of a travelling circus. The Ringmaster introduces the star attractions: Esmeralda, the Spanish dancer, a sword swallower, and a dancing bear. A rapid folk-dance, the skočná, follows. Vašek is entranced by Esmeralda, but his timid advances are interrupted when the sword swallower rushes in, announcing that the "bear" has collapsed in a drunken stupor. A replacement is required. Vašek is soon persuaded to take the job, egged on by Esmeralda's flattering words. The circus folk leave. Vasek's parents – Mícha and Háta – arrive, with Kecal. Vašek tells them that he no longer wants to marry Mařenka, having learned her true nature from a beautiful, strange girl. They are horrified. Vašek runs off, and moments later Mařenka arrives with her parents. She has just learned of Jeník's deal with Kecal, and a lively ensemble ensues. Matters are further complicated when Vašek returns, recognises Mařenka as his "strange girl", and says that he will happily marry her. In the sextet which follows, Mařenka is urged to think things over. They all depart, leaving her alone.
When Jeník appears, she rebuffs him angrily, and declares that she will marry Vašek. Kecal arrives, and is amused by Jeník's attempts to pacify Mařenka, who orders her former lover to go. The villagers then enter, with both sets of parents, wanting to know Mařenka's decision. As she confirms that she will marry Vašek, Jeník returns, and to great consternation addresses Mícha as "father". In a surprise identity revelation it emerges that Jeník is Mícha's elder son, by a former marriage – the "worthless good-for-nothing" earlier dismissed by Kecal – who had in fact been driven away by his jealous stepmother, Háta. As Mícha's son he is, by the terms of the contract, entitled to marry Mařenka; when this becomes clear, Mařenka understands his actions and embraces him. Offstage shouting interrupts the proceedings; it seems that a bear has escaped from the circus and is heading for the village. This creature appears, but is soon revealed to be Vašek in the bear's costume. His antics convince his parents that he is unready for marriage, and he is marched away. Mícha then blesses the marriage between Mařenka and Jeník, and all ends in a celebratory chorus.
(Synopsis courtesy of The Opera Hub)
Quantity: 2 Items
Quantity: Libretto of Bedřich (Freidrich) Smetana's opera "Dalibor." No copyright or publication date listed by publisher. This libretto also features a page of a program pamphlet from a performance dated December 10, 1915.
(32 pages of text and scene descriptions. The front cover and back covers are in okay condition with slight tears and a few stains and coloration from age. Pages in fair condition, with slight creasing around corners. Performance page is in fair condition but delicate to unfold from how it was originally placed in the booklet. )Language: German .
Item Description: Libretto of Bedřich (Freidrich) Smetana's opera "Dalibor." First premiered in 1868, this libretto, written by Josef Wenzig, was published under Josef Weinberger. The libretto includes 32 pages with text and scene descriptions of the performance and a brief list of characters. While originally performed in Czech, this copy is a German translation done by Max Kalbeck. The performance program features the date of the performance as December 10, 1915 as well as the lead actors and a list of upcoming performances for their performance season.
Synopsis: Summary: "Dalibor" tells the story of a fifteenth-century Czech knight, Dalibor, who rebels against the Burgrave of Ploskovice, who killed his best friend in a humiliating manner during a battle. Prior to the opera's events, Dalibor has attacked the Burgrave's castle and killed him. During the trial, with which the opera opens, Milada - the Burgrave's sister - testifies against the knight, but is so impressed by his courage she becomes ashamed of her brother's actions. She disguises herself as a male musician and comes to Dalibor in his prison cell in an attempt to release him.
Synopsis: Act 1 Dalibor, a Czech Knight is on trial before the king for having murdered the burgrave of Ploskovice in revenge for execution of his friend, the musician Zdeněk. At the trial, the king calls upon the burgrave's sister, Milada, who demands his execution. As Dalibor is brought in, the crowd rises in support of him. When Dalibor tells of his friend's capture and murder the court reduces his sentence from death to lifetime imprisonment. Milada painfully realized that she is falling in love with Dalibor, and in collusion with Jitka, an orphan befriended by the knight, she resolves to set him free.
Act 2 After a scene in a mercenary camp, where Jitka and her lover Vítek plot to free Dalibor, Milada enters the prison disguised as a boy and finds employment with Dalibor's jailer, Beneš. She charms the jailer into allowing her into dungeon where Dalibor is being held, to give him his friend's violin. The knight is dreaming, and initially thinks Milada is a reincarnation of his beloved Zdeněk. Then in a passionate duet, they sing of their joy in having found each other.
Act 3 In the dungeon, Dalibor looks forward to escape (singing his famous Song to Freedom) but feeling it is a bad omen when one of the strings of Zdeněk's violin breaks. The plot to bribe Beneš fails, and the jailer informs the king of their attempted escape. Taking the advice of his council, the king orders Dalibor's death. Milada, waiting outside the prison, hears the tolling of the bell that signals Dalibor's execution. Accompanied by her followers, she storms the castle, where, after rescuing Dalibor, she is wounded and dies in his arms. Dalibor stabs himself and is united in death with his beloved.
(Synopsis courtesy of Opera Scotland)
Quantity: 2 Items
Quantity: Libretti collected in the early 20th century from performances of works by Wilhelm Kienzl premiered between 1895-1911. Folder includes 2 libretti.
Language: German .
Quantity: 1 Item
Quantity: Libretto of Wilhelm Kienzl's opera "Der Evangelimann," or "The Evangelist." No copyright or publication date listed by publisher.
(36 pages of text and scene descriptions and a page of advertisements from the publisher inside the front and back cover. The front and back covers are in fair condition with slight tears and a few stains. Pages in fair condition with only a few creases in corners. )Language: German .
Item Description: Libretto of Wilhelm Kienzl's opera "Der Evangelimann." First premiered in 1895, this libretto was published by Ed. Bote and G. Bork in Berlin. The libretto, also written by Kienzl, is based on Leopold Florian Meissner's short story "Aus den Berichten eines Polizeikommissärs." The libretto includes 36 pages with text and scene descriptions of the performance, a brief list of characters,and advertisments added in the inside covers of the booklet by the publisher.
Synopsis: Summary: "Der Evangelimann" tells a tale of love, jealousy, and forgiveness inside a Benedictine monastery in the 19th century.
Synopsis: Act 1 Place and time: the Benedictine monastery St. Othmar in Lower Austria, in the year 1820. Mathias, clerk in the monastery of St. Othmar, is in love with Martha, the foster daughter of the magistrate Friedrich Engel. Mathias's brother Johannes is jealous of Martha's affection and starts an intrigue against him. When the magistrate is informed of what is happening between his charge and Mathias, he dismisses the clerk and expels him from the monastery. Martha resists Johannes's intrusiveness. When Johannes witnesses Martha and Mathias swearing fidelity to each other at their farewell, his jealousy turns into blind hate and he sets the monastery on fire. It is not he, however, but Mathias, who is arrested as the alleged wrongdoer.
Act 2 Place and time: Vienna, 1850 Mathias has served a twenty-year sentence and, having been denied re-integration into society, travels the country as an itinerant preacher. It is revealed that Martha took her life after his imprisonment, and Johannes has become rich by dishonest means and lives in Vienna, now a severely ill man. Thirty years after the events at St. Othmar the brothers meet again. Mathias forgives Johannes, who can thus die in peace.
Quantity: 1 Item
Quantity: Libretto of Wilhelm Kienzl's opera "Der Kuhreigen" with librettist Richard Batka published in 1911.
(63 pages of text and scene descriptions, a brief list of characters, a page of advertisements on the back cover of the booklet from the publisher. The front and back covers are in okay condition with slight fading and stains, with noticeable wear on the spine. Pages in fair condition with only a few creases in corners and age coloration. )Language: German .
Item Description: Libretto of Wilhelm Kienzl's opera "Der Evangelimann." First premiered in 1911, this libretto is copyright 1911 under Josef Weinberger. Written by librettist Richard Batka, the plot is based on the novel "Die kleine Blanchefleur" by author Rudolf Hans Bartsch. The libretto includes 63 pages with text and scene descriptions of the performance, a brief list of characters, and advertisments added to teh back cover of the booklet by the publisher.
Synopsis: Summary: Set in revolutionary France, this is the love story of the Swiss Sergeant Primus Thaller, condemned for singing the banned Swiss 'Kuhreigen' folksong, and Blanchefleur, wife of the Marquis Massimelle, who saves him and then herself becomes a victim of the revolution.
Synopsis:
Act 1 Barrack square of Saint Honore' at Paris. The Swiss soldiers drill under Sergeant Dursel even after their normal time of duty. After that, they sit silently at their table, while French Sergeant Favart and his comrades sing cheerful songs. Favart explains to his soldiers why the Swiss do not sing anymore. It has happened that these people, who love their home country above all, were possessed by an uncontrollable homesickness when the Kuhreigen was sung. Therefore they are forbidden on penalty of death to sing it. Now they rather do not sing at all. - A quarrel arises between Dursel and Favart because of the waitress Doris. Primus Thaller intervenes and berates his fellow countryman Dursel for whipping up feeling over a girl of this class. He thinks that the woman to move his own heart must be different. When commander Massimelle and his wife Blanchefleur walk through the camp, Primus feels his heart beat mightily.
Revolution arises amongst the French soldiers, and their officers are very much aware of it. They think, however, that the Swiss soldiers are loyal. Priums is still deeply moved by the sight of Blanchefleur. He begins to sing the "Kuhreigen" song, and his comrades join in, first quietly, then louder and louder [this is where the excerpt recorded by Fritz Wunderlich is taken from]. Nasty Favard calls the officer on duty. Primus, who deliberately calls himself the ringleader, is taken away to prison.
Act 2 Bedchamber of the king. The courtly morning ceremony takes place. Massimelle presents the death sentence perpared for Primus for signature. Since Primus once defended Blanchefleur, the king leaves the right of reprieve to her. Blanchefleur is delighted about this and wants to get to know the uncouth Swiss man in person. Her husband sends the freed man to her. Outside the palace, the revolutionary crowd is already going wild. Blanchefleur, however, is not impressed by the revolutionary events and still wants to perform a pastoral play together with the cute young man. Primus cannot deny his love, but he does not want to throw himself away for an affair. Although Blanchefleur tells him that her heart is free, Primus feels that her husband stands in his way. To Blanchefleur's regret, he asks for his freedom and goes away.
Act 3 Dining hall at the palace of the Massimelles. Revolutionary scene - sans-culottes, amongst them Favard, Doris and other prostitutes have invaded the palace. Blanchefleur is found and taken to prison. Primus, who has been appointed Captain, comes too late to rescue his beloved. When he hears that Massimelle's head has fallen under the guillotine, he has but one thought: Blanchefleur is free for him now. He rushes away to try to rescue her from the dungeon.
The great cellar room of the Temple. Here are the prisoners who are destined to be executed. Blanchefleur is amongst them. The thoughtlessness of the age is showed by everything the prisoners do - they dance the minuet, and rush from the dance to the guillotine, when their names are called by the revolutionary soldier. Primus, who wants to rescue Blanchefleur, tells her that she is a widow and free to become his wife, which will save her from being executed. Blanchefleur is moved by his devotion, but she cannot overcome her feeling of difference in class. She does not want to live as a simple Madame Thaller. But she wants to dance with the young Swiss. Stunned, Thaller takes her hand, and they begin to dance the minuet. Blanchefleur's name is called. She takes her leave of the loyal friend. Primus, severely shaken, stays behind, while one of the Royalists shouts "Mesdames, Messieurs, the dance is going on..."
(Synopsis courtesy of Fritz Wunderlich Discography)
Quantity: 3 Items
Quantity: Libretti collected in the early 20th century from performances of works by Giacomo Meyerbeer premiered between 1836-1849. Folder includes 2 libretti and 1 accompanying performance program.
Language: German .
Quantity: 1 Item
Quantity: Libretto of Giacomo Meyerbeer's opera "Die Hugenotten," better known as "Les Huguenots" with librettists Eugène Scribe and Émile Deschamps. No copyright or publication date listed by publisher.
(143 pages of text and scene descriptions, brief synopsis, cast and works list, introductory passages of the composer and opera, and a page of advertisements from the publisher inside the front and back cover. The front and back covers are in okay condition with slight tears, stains, and creases. Spine is squished forward causing binding to weaken. Pages in fair condition with only a few creases but may fall out if handled roughly due to weak binding. )Language: German .
Item Description: Libretto of Giacomo Meyerbeer's opera "Die Hugenotten," better known as "Les Huguenots." First premiered in 1836, this libretto was published under Philipp Neclam Jr.. The opera, written with librettists Eugène Scribe and Émile Deschamps, is one of the most popular examples of grand opera. The libretto includes 143 pages with text and scene descriptions of the performance, a cast and works list, introductory passages of the composer and opera, and a page of advertisements from the publisher.
Synopsis: Summary: During a religious war between Catholics and Protestants, a Huguenot, Raoul de Nangis, has met a mysterious woman, who he has rescued and fallen in love with. He does not know at the time that Valentine, the daughter of St. Bris, is a Catholic and Marguerite de Valois' lady in waiting. She is also engaged to marry the Count of Nevers. From her castle in Chenonceaux, Marguerite de Valois hopes to bring the two religions together. To achieve this, she orders Raoul to marry Valentine. However, convinced that Valentine is still engaged to Nevers - when in fact the engagement has been broken off – Raoul refuses to comply…provoking the Catholics' ire. The young Huguenot dies in the St. Bartholomew's Day Massacre, along with Valentine, who, after converting to Protestantism in order to marry Raoul, is killed by her own father.
Synopsis: Act 1 During a banquet gathering Protestants and Catholics at the Count of Nevers' castle, Raoul de Nangis, a Protestant, tells of an unknown beauty, who he rescued from a group of students and is in love with.
Among the guests is Marcel, Raoul's servant. The old man is a fervent Protestant. The Catholic guests disgust him and he sings the Huguenot battle song from the siege of La Rochelle.
Act 2 Raoul de Nangis gets another glimpse of his mysterious stranger. Her name is in fact Valentine, the daughter of St. Bris. She has come to ask the Count of Nevers to break offer her engagement to marry him. Nevers accepts, but Raoul does not overhear their conversation. Valentine is also Marguerite de Valois' lady in waiting. The Queen of Navarre hopes to ease religious tensions by marrying a Catholic (Valentine) to a Protestant (Raoul). Surrounded by her court, Marguerite prepares for Raoul's visit.
Act 3 Raoul de Nangis, a Huguenot, refuses to marry Valentine, who he believes is still engaged to marry the Count of Nevers.But by refusing to do so, he has offended the Catholics and fanned the flames of religious conflict.Valentine laments her future and ill-fated love for Raoul.
Act 4 While Raoul endeavours to meet Valentine, St. Bris and his men plan the St. Bartholomew's Day Massacre.
Act 5 The massacre and its consequences are terrible: Nevers is killed, while Valentine, who has converted to Protestantism, is killed, along with Raoul, by her own father.
(Synopsis courtesy of Opera Online)
Quantity: 2 Item
Quantity: Libretto of Giacomo Meyerbeer's opera "Der Prophet" or "Le prophète." No copyright or publication date listed by publisher. This libretto also features a page of a program pamphlet from a performance dated May 26, 1915.
(61 pages of text and scene descriptions of the performance, a brief list of characters, and advertisements included on the inside of the front and back covers by the publisher. The front cover and back covers are in okay condition with slight tears, stains and discoloring. Pages in fair condition, with slight creasing around corners. Performance page is in fair condition. )Language: German .
Item Description: Libretto of Giacomo Meyerbeer's opera "Der Prophet," perhaps better known as "Le prophète." First premiered in 1849, this libretto, written by librettist Eugène Scribe, was published under Adolph W. Kunast. The plot was partly inspired by passages from the "Essay on the Manners and Spirit of Nations" by Voltaire as well as the life of John of Leiden, an Anabaptist leader and self-proclaimed "King of Münster" in the 16th century. The libretto includes 61 pages with text and scene descriptions of the performance, a brief list of characters, and advertisements included on the inside of the front and back covers by the publisher. The performance program features the date of the performance as May 26, 1915 as well as the lead actors and a list of upcoming performances for their performance season.
Synopsis: Summary: A tragedy of five acts, this grand opera tells the story of love seperated and reunited over the course of political and religious revolution.
Short Synopsis: Act I Berthe and her future mother-in-law Fidès head for the castle of the Count of Oberthal to ask permission for the former to marry her beloved Jean. They run into three Anabaptists who excite the crowds into a social revolution. They are stopped by the Count himself who is struck by Berthe's beauty and refuses her request to marry Jean. Act II The Anabaptists try to recruit Jean as their leader, but he only wants to live for his beloved Berthe. The Count demands that Berthe be returned to him. After he takes her away, Jean decides to join the Anabaptists in overthrowing the Count. Act III Jean is made a prophet and the Anabaptist group participates in murdering and capturing the rich. The Count enters the Anabaptist camp in disguise to try and figure out a plan to stop them but is ultimately discovered and sentenced to death. He tells Jean that Berthe escaped his clutches and Jean, who is wary of the violence, spares his life. Act IV Berthe and Fidès are reunited. Fidès explains that her son was murdered by the Anabaptists and Berthe decides to assassinate the prophet. During Jean's coronation ceremony, Fidès recognizes her son and publicly makes the claim to be his mother. Everyone thinks he has been anointed by God and is confused by her claim. Jean tells his followers to kill him if Fidès makes the claim again. She retracts her statement. Act V The Anabaptists decide to turn over Jean to the Imperial forces. Jean is reunited with his mother and promises to stop being a prophet. He is reunited with Berthe and they dream of their future together. However, when she realizes that he is the prophet, Berthe kills herself. At a banquet in his honor, Jean, the Anabaptists, his mother, and the Imperial forces all die when the hall collapses from an explosion.
(Synopsis courtesy of Opera Wire.)
Quantity: 3 Items
Quantity: Libretti collected in the early 20th century from performances of works by Carl Goldmark premiered between 1875-1896. Folder includes 2 libretti and 1 accompanying performance program.
Language: German .
Quantity: 2 Items
Quantity: Libretto of Carl Goldmark's opera "Die Königin von Saba." No copyright or publication date listed by publisher. This libretto also features a page of a program pamphlet from a performance dated May 30, 1915.
(32 pages of text and scene descriptions. The front cover and back covers are in okay condition with slight staining and tears around the spine. Pages in fair condition, with creasing around corners. Performance page is in fair condition but slightly delicate to unfold from how it was originally placed in the booklet. )Language: German .
Item Description: Libretto of Carl Goldmark's opera "Die Königin von Saba." First premiered in 1875, this libretto, written by librettist Hermann Salomon Mosenthal, was published under Adolf W. Kunast. The libretto includes 32 pages with text and scene descriptions of the performance and a brief list of characters. The performance program features the date of the performance as May 30, 1915 as well as the lead actors and a list of upcoming performances for their performance season.
Synopsis: Summary: "Die Königin von Saba" or "The Queen of Sheba" is an opera in four acts set into the context of the Queen of Sheba's visit to the court of King Solomon. It entails a love triangle between the Queen of Sheba, Assad (a member of Solomon's court) and Sulamith (Assad's betrothed).
Synopsis: Act I Sulamith, the daughter of the High Priest, waits for her fiancé, Assad, to return to court from his diplomatic assignment, so that he can plan for the arrival of the Queen of Sheba at the court of King Solomon. Upon his return to the palace, Assad meets with Solomon and reveals to him that he has fallen in love with a mysterious woman and does not love Sulamith. Before Solomon can reply, the Queen of Sheba arrives with her entourage. As she greets the king, she pulls back her veil, revealing to Assad that she is in fact the mysterious woman he had met on his journey. To Assad's confusion, the queen pretends not to know him. After the queen leaves, Solomon counsels Assad to not pursue his infatuation but to continue with his marriage to Sulamith.
Act II The Queen of Sheba slips away from the social gathering being held in her honor inside the palace. Astaroth, her slave, informs her that Assad is nearby and then proceeds to lure Assad to her mistress. Assad and the Queen engage in a fervent conversation is disrupted by the Guardian of the Temple with a call for the Sons of Israel to pray. The wedding party arrives and Assad and Sulamith are about to be married in front of the Ark of the Covenant when the Queen appears to give a wedding present. Assad commits blasphemy by referring to the Queen as his god, causing an uproar which ends the wedding ceremony. Assad is led off to await punishment.
Act III Celebrations in honour of the Queen of Sheba continue. The Queen pleads for Solomon to give Assad mercy. He refuses and the Queen leaves plotting revenge. Sulamith, along with her companions, enter the court where she too pleads for Assad's life. Still unmoved, Solomon replies with an ominous prophecy about Sulamith's fate. Distraught, she leaves the palace for the desert.
Act IV Assad has been banished by Solomon to the desert. The Queen of Sheba seeks him out to attempt to convince him to come back with her to her kingdom. She finds him alone and tries to seduce him. He rejects her advances and reveals his regret and desire for a death that might redeem his offense against God. Assad then prays for Sulamith, during which time he is engulfed in a violent sandstorm. He is later found barely alive by Sulamith and her companions. He begs for her forgiveness, which she bestows just before he dies in her arms.
Quantity: 1 Item
Quantity: Libretto of Carl Goldmark's opera "Das Heimchen am Herd." No copyright or publication date listed by publisher.
(47 pages of text and scene descriptions. Binding is in poor condition with sections of pages loose. The front cover is missing while the back cover is intact for now. Pages in okay condition, but are brittle and falling out of binding, so handle with care. )Language: German .
Item Description: Libretto of Carl Goldmark's opera "Das Heimchen am Herd." First premiered in 1896, this libretto was published under Emil Berte and Cie. Written by librettist A.M. Willner, the plot of this opera follows an adaptation of Charles Dickens' story "The Cricket on the Hearth." The libretto includes 47 pages with text and scene descriptions of the performance and a brief list of characters.
Synopsis: Summary: "Das Heimchen am Herd" follows an adaptation of Charles Dickens' tale: "The Cricket on the Hearth."
We follow the story of John, his wife Dot, and a cricket upon their hearth as they take in a mysterious stranger that visits and takes up lodging in the home. Their lives also intersect with The Plummers, a family of poor toymakers whose son Edward is thought to be lost at sea. Chaos ensues as a man named Tackleton, the employer of the elder Plummer, plans to marry May, the sweetheart of Edward.
In the end, it is discovered the mysterious lodger is none other than Edward who returned home in disguise. Edward marries May before she is scheduled to marry Tackleton. However, Tackleton's heart is melted by the festive cheer and he surrenders May to her true love.
Quantity: 1 Item
Quantity: Libretti collected in the early 20th century from performances of works by Julius Bittner premiered in 1909. Folder includes 1 libretto.
Language: German .
Quantity: 1 Item
Quantity: Libretto of Julius Bittner's opera "Der Musikant" copyright 1909.
(80 pages of text and scene descriptions and a brief list of characters. The front and back covers are in fair condition with slight fading, some wear on the spine. Pages in fair condition but are delicate in the binding, so turn pages with care. )Language: German .
Item Description: Libretto of Julius Bittner's opera "Der Musikant." First premiered in 1909, this libretto is copyright under B. Schott's Sohne. Bittner was also the librettest for this score, inspired by Wagner to be his own librettist for several of his own operas. The libretto includes 80 pages with text and scene descriptions of the performance, and a brief list of characters.
Quantity: 1 Item
Quantity: Libretti collected in the early 20th century from performances of works by Jean Nouguès premiered in 1909. Folder includes 1 libretto.
Language: German .
Quantity: 1 Item
Quantity: Libretto of Jean Nouguès' opera "Quo Vadis?" with librettist Henri Cain copyright 1909.
(83 pages of text and scene descriptions with a brief list of characters. The front and back covers are in okay condition with slight fading and stains, noticeable wear on the spine, and a stamp from the bookseller Julius Herz (of no relation to Cary Herz). Pages in fair condition with only a few creases in corners and age coloration. )Language: German .
Item Description: Libretto of Jean Nouguès' opera "Quo Vadis?". First premiered in 1909, this libretto is copyright under Josef Weinberger in 1910. The librettest for this score was Henri Cain after Henryk Sienkiewicz. "Quo Vadis?" was Nouguès's most celebrated staged work and is a large-scale affair dealing with the subject of the plights of Christian martyrs in Rome.
Quantity: 1 Item
Quantity: Libretti collected in the early 20th century from performances of works by Ermanno Wolf-Ferrari premiered in 1911. Folder includes 1 libretto.
Language: German .
Quantity: 1 Item
Quantity: Libretto of Ermanno Wolf-Ferrari's opera "Der Schmuck der Madonna," frequently performed in Italian as "I Gioielli Della Madonna" with librettists Carlo Zangarini and Enrico Golisciani copyright 1911.
(74 pages of text and scene descriptions, a brief list of characters and a page of advertisements listed on the back cover by the publisher. The front and back covers are in fair condition with slight fading, stains, and some wear and tear on the spine. Pages in fair condition with slight creasing in the corners. )Language: German .
Item Description: Libretto of Ermanno Wolf-Ferrari's opera "Der Schmuck der Madonna," though more commonly performed in Italian as "I Gioielli Della Madonna"." First premiered in 1911 in Germany, this libretto is copyright under Josef Weinberger. The story, wriiten with librettists Carlo Zangarini and Enrico Golisciani, was based on news accounts of a real event. The libretto includes 74 pages with text and scene descriptions of the performance and a brief list of characters.
Synopsis: Summary: Set in Naples, the plot centers on a blacksmith named Gennaro's obsession with his foster sister Maliella, who is in love with a man named Rafaele. Later, Gennaro steals the glittering jewels that adorn a local statue of the Madonna in order to gain Maliella's love
Synopsis: Act I Gennaro, a skilled young blacksmith, lives in Naples' port area with his mother Carmela and Maliella, whom she took into the house out of pity as a child. The young man loves the beautiful foster daughter. She publicly attracts the attention of Rafaele, who leads the Camorrists. As a procession with the statue of the Madonna passes by, Rafaele promises the girl that he will rob her of the Madonna's precious jewelry if he wins her love. Gennaro, who has overheard the conversation, rebukes Maliella, but she has already fallen for Rafaele, who throws her a red rose as a farewell.
Act II Gennaro confesses his love for Maliella. She makes fun of him and only wants to listen to the man who puts the jewelry of the Madonna at her feet. The blacksmith hurriedly sets off in the dark to fulfill Maliella's wish. Meanwhile, Rafaele arrives with a crowd of Camorrists and serenades Maliella. No sooner have the singers left than Gennaro returns and brings the sacred jewelry. Maliella quickly overcomes her dismay, puts on the jewelry and gives herself to Gennaro.
Act III Rafaele returns with the Camorrists to their hideout, a cave outside Naples. Maliella rushes in, reports on Gennaro and seeks refuge with Rafaele. He pushes her away after learning what has happened. Gennaro runs after the her and is taken into the cave by the bandits on guard. There, Maliella hatefully throws the jewelry at his feet, runs away and throws herself into the sea. The gang freezes, curses Gennaro and moves away, murmuring prayers to the Madonna. Gennaro brings the jewelry back to the church, kneels in front of the image of the Madonna and asks for forgiveness. After the Madonna signifies that she has forgiven him, he plunges the dagger into his chest.
(Synopsis courtesy of Opera Guide)
Quantity: 1 Item
Quantity: Libretti collected in the early 20th century from performances of works by Leo Fall premiered in 1916. Folder includes 1 libretto.
Language: German .
Quantity: 1 Item
Quantity: Libretto of Leo Fall's opera "Die Rose von Stambul," with librettists Julius Brammer and Alfred Grünwald, copyright 1916.
(32 pages of text and a brief list of characters. The front and back covers are in poor condition, separated from the spine and torn/missing small sections around the edges. Pages in fragile condition threatening to fall or tear out of binding. Pages are also quite faded with some featuring pencil marks and scribbles. Handle with care. )Language: German .
Item Description: Libretto of Leo Fall's opera "Die Rose von Stambul." First premiered in 1916, this libretto is copyright under W. Karczag. The librettists for this operetta were Julius Brammer and Alfred Grünwald. The libretto includes 32 pages with text from the performance and a brief list of characters.
Synopsis: Summary: The story centers around Achmed Bey, a young Turkish man who wishes to reform Turkish society. Not wanting to embarrass his politician father, Bey publishes his reform plans in French under the pseudonym "André Léry". The book becomes a bestseller among Turkish women. Later, a marriage is arranged between Achmed Bey and Kondja Gül. On their wedding night, however, Gül confesses to her husband that she can never love him, as she has fallen in love with the author André Léry!
Synopsis: Act I Ahmed Bey is an Western-minded man from Turkey. His head is full of plans to reform the Turkish social order. However, because his father is a respected minister of state, he does not dare to publish his ideas under his real name. Thanks to his literary talent and a good knowledge of the French language, he had the idea of writing his novel under the pseudonym "André Léry". The book quickly became a bestseller that was particularly popular with modern Turkish women.
Kamek Pasha is one of the most respected men and is deeply rooted in Ottoman family tradition. His daughter Kondja Gül is quite different.She loves André Léry's book and his almost revolutionary ideas. An extensive correspondence develops between the two, in which they learn to appreciate each other more and more.
Act II Now that Kondja is of marriageable age, her father engages her to wed Ahmed Bey. Kondja is deeply saddened by this; but she knows that it is futile to rebel against this tradition. She is also denied the opportunity to see her future husband before the wedding. Even during engagement, the couple is only allowed to talk behind a screen. Ahmed knows who his bride is and is also genuinely in love with her, but he conceals from her that he is also "André Léry" at the same time.
During the wedding night, Kondja confesses to her husband that she only married him because of tradition. But she doesn't feel anything for him. Her true love belongs to the French writer André Léry. When Ahmed confesses to her that he is the author, she doesn't believe a word he says.
Act III The next day, Kondja leaves for Switzerland after hearing from her husband on their wedding night that André Léry would be there. When she inquires about the writer at the hotel reception, she learns that Léry and his wife is expected. This news almost breaks her heart. As soon as she arrives, she wants to leave right away. Suddenly, she sees her husband Achmed approaching her. It is then she realizes her husband was telling the truth: he and the French poet are one and the same.
Quantity: 2 Items
Quantity: Libretti collected in the early 20th century from performances of works by Eugen d'Albert premiered in 1903. Folder includes 1 libretto and one accompanying performance program from 1914.
Language: German .
Quantity: 2 Items
Quantity: Libretto of Eugen d'Albert's opera "Tiefland." No copyright or publication date listed by publisher. This libretto also features a page of a program pamphlet from a performance dated November 30, 1914.
(87 pages of text and scene descriptions, a brief list of characters, and a brief synopsis. The front cover and back covers are in fair condition with slight tears along the spine. Pages in fair condition. Performance page is in fair condition but a little delicate to unfold from how it was originally placed in the booklet. )Language: German .
Item Description: Libretto of Eugen d'Albert's opera "Tiefland." First premiered in 1903, this libretto, written with librettist Rudolph Lothar, was published under Ed. Bote and G. Bork. "Tiefland" is based off of a 1896 play titled "Terra baixa" by Àngel Guimerà. The libretto includes 87 pages with text and scene descriptions of the performance, a brief list of characters, and a synopsis of the story. The performance program features the date of the performance as November 30, 1914 as well as the lead actors and a list of upcoming performances for their performance season.
Synopsis: Summary: Years before the opera's events take place, Marta, the daughter of a strolling player, had been convinced to live with Sebastiano, a wealthy landowner, in exchange for the gift of a mill to her father. Later, Sebastiano is about to marry a wealthy heiress. In order to keep his to-be wife whilst keeping his mistress, Marta, nearby to continue their affair, he plans to have her marry Pedro, one of his shepherds.
Synopsis: Prologue: The shepherd Pedro lives lonely in a dairy hut high up in the rugged Pyrenees, far away from the earthly feelings of lust and sorrow, though he dreams of having a wife. The landowner Sebastiano appears and tells him that he has decided to give him his maid Martha to marry, but he must come down to the lowlands and work as a miller village below. Pedro, who has always prayed to God to bring him a wife, is overjoyed at the happiness that awaits him and, despite warnings from his friend Nando, leaves the mountains to find happiness in the lowlands.
Act I We learn that Martha had been Sebastiano's mistress for a long time. He is up to his ears in debt and now wants to put his shattered financial situation back in order through a rich marriage. But first he must put an end to the gossip about his relationship with Martha, for which purpose he arranged her marriage to Pedro. Martha, who is under Sebastiano 's despotic influence, begs him not to give her to Pedro, who she believes has allowed himself to be bribed with money to marry her. Sebastino insists on the connection, explains to her that even after her marriage he will continue to be her lover and will come to her in her chamber tonight. The marriage ceremony takes place, Martha sees from a conversation with Pedro that he has no idea of the shameful deal in which he has been involved and is now seized with love and pity for her husband. The light from Martha's room shows her that Sebastiano is waiting for her there. She does not follow the temptation, and after she has calmed Pedro, who has grown suspicious, she spends the night in a chair. Pedro seeks his bed for the night on the ground, at the feet of his wife.
Act II In the morning, Pedro thinks about the mysterious light of yesterday evening and, tormented by ominous forebodings, he seeks the village elder Tommaso, who had gone through the mill back to his mountains. The farmhand Moruccio has found out everything. Martha reproaches him and tearfully tells him the story of her suffering. Pedro is mocked by the maids and servants with hidden allusions and half-words, he demands clarification from Martha, who, without confessing everything to him, falls on her knees in front of him and begs him to kill her. He is unable to do this because he loves her madly, only begs her to flee with him to the beautiful mountains to start a new life there together with him. Sebastiano, insisting on his rights, wants to prevent Martha from leaving. An engagement with a rich heiress has fallen through, and Sebastiano at least wants to keep Martha to himself. However, she now loves only Pedro and pushes him away. Sebastiano wants to seize her by force, and she screams desperately for help. Pedro rushes over, a desperate struggle develops between the two men, which ends with Sebastiano, strangled by Pedro's hands, sinking lifeless to the ground. Pedro picks up his wife and they move back to his home in the mountains.
(Synopsis translated from booklet)
Quantity: 2 Items
Quantity: Libretti collected in the early 20th century from performances of works by Franz Schmidt. Folder includes 1 libretto and 1 accompanying performance program.
Language: German .
Quantity: 2 Items
Quantity: Libretto of Franz Schmidt's opera "Notre Dame," copyright 1913. This libretto also features a page of a program pamphlet from a performance dated December 27, 1914.
(63 pages of text and scene descriptions, a brief list of characters, and a section of advertisements inside the back cover placed by the publisher. The front cover and back covers are in fair condition with slight staining and marks on the front cover and spine. Pages in fair condition with slight coloration from age. Performance page is in fair condition but slightly delicate to unfold from how it was originally placed in the booklet. )Language: German .
Item Description: Libretto of Franz Schmidt's opera "Notre Dame." First premiered in 1914, this libretto, written by Schmidt himself as well as chemist and poet Leopold Wilk, was published under Drei Masken Verlag. The plot of this opera is based loosely on the 1831 Victor Hugo novel titled "The Hunchback of Notre-Dame." The libretto includes 63 pages with text and scene descriptions of the performance and a brief list of characters. The performance program features the date of the performance as December 27, 1914 as well as the lead actors and a list of upcoming performances for their performance season.
Synopsis: Summary: Schmidt's two-act opera focuses attention on the beautiful gypsy girl Esmeralda and on men fatally attracted to her. Although far from the most notorious of operatic gypsies, the Esmeralda's beauty nonetheless leads to the downfall of four men "bewitched" by her charms, and ultimately to her own death as well.
Synopsis: Act I At a Parisian carnival in the latter 15th century, gypsies gather on Grève Square. They lay out a carpet on which Esmeralda is supposed to dance. Nearby, group of the people are preparing to elect a pope of fools, in which the best candidate is someone who is good at making faces. The choice falls on Quasimodo, a hunchback. When the Archdeacon Claude Frollo, a high clergyman of Notre Dame Cathedral, is looking for his protégé, he discovers him in a jester's dress being badly beaten by a screaming crowd. Esmeralda takes pity on him and saves him. As a result, the archdeacon forbids any carnival activities for the future.
Gringoire, a poet and philosopher, had once strayed into the "Wunderhof", which normally only beggars, gypsies and thieves have access to. As punishment, he was to be killed, unless a wife could be found to take him as her husband. It was Esmeralda who saved his life by marrying him for appearances. Gringoire overhears his wife Esmeralda arranging a rendezvous with a Guards officer named Phoebus for that night. He seethes with rage. Suddenly, the archdeacon, who as also heard the conversation, appears and recommends to Gringoire not to let Esmeralda out of his sight. Perhaps this will prevent the rendezvous. Claude Frollo also desires Esmeralda, although his church vows should actually prevent him from doing so.
Gringoire manages to sneak into the house where the rendezvous is to take place. When Phoebus and Esmeralda confess their love for each other, Gringoire, unrecognized by Esmeralda, leaves his hiding place. He rushes at Phoebus with a knife and stabs him. To avoid being captured, he jumps through the window into the river.
Act II Esmeralda is arrested as the alleged murderer of Phoebus. Claude Frollo visits her in the dungeon and explains to her that the Guards officer survived the assassination attempt. This news reawakens Esmeralda's spirits. Suddenly, the priest is overcome by such a fervent desire for Esmeralda that he begins to fear himself. He now believes that Esmeralda must be a witch and has bewitched him. He can't stand to be in her presence and leaves prison in a rage.
In the square in front of the cathedral, Claude Frollo gives Esmeralda into the hands of the Inquisition. The gypsy woman is to be executed. However, before the executioner can fulfill his task, Esmeralda is "kidnapped" to the church by Quasimodo in a coup d'état. From the tower, he tells the crowd that he has granted the girl asylum. Although Quasimodo believes that Esmeralda is now saved forever, he has vastly underestimated his former benefactor Frollo. In his fanaticism, he proclaims that the king declares the right of ecclesiastical asylum to be over.
When Esmeralda is led to the place of execution, the archdeacon becomes certain that he has done wrong. But it is now too late to turn back. In order to find his inner peace, he sacrifices the innocent.
Quasimodo's reverence for his former benefactor Frollo has turned into bitter hatred. He grabs him and throws him from the platform into the depths. Because he sees all meaning forfeited in his life, he now seeks death. Before that, however, he lets his beloved bells ring again.
Quantity: 2 Items
Quantity: Libretti collected in the early 20th century from performances of works by W. A. Mozart. Folder includes 1 libretto and 1 accompanying performance program.
Language: German .
Quantity: 2 Items
Quantity: Libretto of Mozart's opera "Die Zauberflöte," or "The Magic Flute." No copyright or publication date listed by publisher. This libretto also features a page of a program pamphlet from a performance dated December 1, 1915.
(64 pages of text and scene descriptions, a brief list of characters, and advertisements placed inside the front and back covers by the publisher. The front cover and back covers are in okay condition with staining and creasing around the edges. Pages in fair condition, with some folds around corners and staining on several pages. Performance page is in fair condition but is slightly curling around edges and is delicate to unfold from how it was originally placed in the booklet. It also features some writing in pencil on the backside, presumably written in German. )Language: German .
Item Description: Libretto of Mozart's opera "Die Zauberflöte," or "The Magic Flute." First premiered in 1791, this libretto, written by librettist Emanuel Schickaneder, was published under Adolf W. Kunast. The libretto includes 64 pages with text and scene descriptions of the performance and a brief list of characters as well as advertisments placed by the publisher. The performance program features the date of the performance as May 30, 1915 as well as the lead actors and a list of upcoming performances for their performance season.
Synopsis: Summary: Prince Tamino is sent by the Queen of the Night to free her daughter Pamina from the prisons of the magician Sarastro, described as a tyrant. Guided by the Queen's three ladies, Tamino is accompanied by Papageno, a colourful bird catcher, whose cowardice contrasts with Tamino's nobility and courage. Papageno is given a set of bells and Tamino a magic flute – two instruments that will help them in their journey, but during their trip Tamino discovers that the forces of evil are not on Sarastro's side but on the side of the Queen of the Night. She has deceived him and will stop at nothing to take revenge on Sarastro, whom she despises. Filled with trials, Tamino's path to free and win over Pamina is loaded with symbols which, from one scene to the next, lead them towards love and light, under Sarastro's benevolent wisdom. The Queen of the Night and her retinue end up destroyed.
Synopsis: Act I A mythical land between the sun and the moon. Three ladies in the service of the Queen of the Night save Prince Tamino from a serpent. When they leave to tell the queen, the birdcatcher Papageno appears. He boasts to Tamino that it was he who killed the creature. The ladies return to give Tamino a portrait of the queen's daughter, Pamina, who they say has been enslaved by the evil Sarastro. Tamino immediately falls in love with the girl's picture. The queen, appearing in a burst of thunder, tells Tamino about the loss of her daughter and commands him to rescue her. The ladies give a magic flute to Tamino and silver bells to Papageno to ensure their safety on the journey and appoint three spirits to guide them.
Sarastro's slave Monostatos pursues Pamina but is frightened away by Papageno. The birdcatcher tells Pamina that Tamino loves her and is on his way to save her. Led by the three spirits to the temple of Sarastro, Tamino learns from a high priest that it is the Queen, not Sarastro, who is evil. Hearing that Pamina is safe, Tamino charms the wild animals with his flute, then rushes off to follow the sound of Papageno's pipes. Monostatos and his men chase Papageno and Pamina but are left helpless when Papageno plays his magic bells. Sarastro enters in great ceremony. He punishes Monostatos and promises Pamina that he will eventually set her free. Pamina catches a glimpse of Tamino, who is led into the temple with Papageno.
Act II Sarastro tells the priests that Tamino will undergo initiation rites. Monostatos tries to kiss the sleeping Pamina but is surprised by the appearance of the Queen of the Night. The Queen gives her daughter a dagger and orders her to murder Sarastro.
Sarastro finds the desperate Pamina and consoles her, explaining that he is not interested in vengeance. Tamino and Papageno are told by a priest that they must remain silent and are not allowed to eat, a vow that Papageno immediately breaks when he takes a glass of water from a flirtatious old lady. When he asks her name, the old lady vanishes. The three spirits appear to guide Tamino through the rest of his journey and to tell Papageno to be quiet. Tamino remains silent even when Pamina appears. Misunderstanding his vow for coldness, she is heartbroken.
The priests inform Tamino that he has only two more trials to complete his initiation. Papageno, who has given up on entering the brotherhood, longs for a wife instead. He eventually settles for the old lady. When he promises to be faithful she turns into a beautiful young Papagena but immediately disappears.
Pamina and Tamino are reunited and face the ordeals of water and fire together, protected by the magic flute.
Papageno tries to hang himself on a tree but is saved by the three spirits, who remind him that if he uses his magic bells he will find true happiness. When he plays the bells, Papagena appears and the two start making family plans. The Queen of the Night, her three ladies, and Monostatos attack the temple but are defeated and banished. Sarastro blesses Pamina and Tamino as all join in hailing the triumph of courage, virtue, and wisdom.
(Synopsis courtesy of the Metropolitan Opera)
Quantity: 2 Items
Quantity: Libretti collected in the early 20th century from performances of works by Charles Gounod premiered in 1869. Folder includes 1 libretto and 1 accompanying full performance program from the Wiener Volksoper in 1915.
Language: German .
Quantity: 3 Items
Quantity: Libretto of Charles Gounod's opera "Margarete," or "Faust." No copyright or publication date listed by publisher. This libretto also features a page of a program pamphlet from a performance dated February 23, 1915 and a full program pamphlet from the Wiener Volksoper
(75 pages of text and scene descriptions, a brief list of characters, and advertisements placed in the back of the booklet by the publisher. The front cover and back covers are in fair condition with slight staining and small tears near the spine. Pages in fair condition, with some creasing around corners and coloration from age. Performance page is in fair condition but slightly delicate to unfold from how it was originally placed in the booklet. Full performance program is in okay condition with staples in spine falling out. Page condition varies throughout booklet from fair to delicate. )Language: German .
Item Description: Libretto of Charles Gounod's opera "Margarete," perhaps more widely known as "Faust." First premiered in 1869, this libretto was written by Jules Barbier and Michel Carré (from Carré's play "Faust et Marguerite"), which is also loosely based on Johann Wolfgang von Goethe's "Faust." The libretto was published under Ed. Bote and G. Bork and includes 75 pages with text and scene descriptions of the performance and a brief list of characters as well as advertisements placed by the publisher. The performance program features the date of the performance as Feburary 23, 1915 as well as the lead actors and a list of upcoming performances for their performance season. The full performance pamphlet included with this libretto comes from the Wiener Volksoper and includes a composer biography, plot information, pictures of the set, actor information, and more.
Synopsis: Summary: Doctor Faust is an aging scholar who has devoted his life to his work but now feels nothing has come of this and he has wasted his life. He contimplates ending it all, when suddenly, Mephistophélès, the devil himself, appears before him. He makes a pact with Faust, guaranteeing him eternal youth in exchange for his soul. Fascinated by an image of Marguerite that the devil has produced to convince him, Faust goes off to seduce her. She offers little resistance to his gifts and romantic ways. Méphistophélès, of course, does not fail to follow him and anticipate his every desire. Later seduced and abandoned by Faust, Marguerite kills the child born of their union. Imprisoned for her crime, she gives her life to save her soul and succeeds despite the efforts of the Devil to damn her soul with Faust's.
Synopsis: ACT I Faust has spent a lifetime in the study of science. Disillusioned with life, he resolves to poison himself. He curses God and calls on the Devil. Méphistophélès obligingly appears and offers Faust riches, power, or glory. Faust, however, only wants to recapture the innocence of youth. Méphistophélès agrees to Faust's request, but there are conditions: on earth Faust will be master, but in the world below their roles will be reversed. When Faust hesitates, Méphistophélès conjures up a vision of Marguerite. Faust signs the contract and returns to his youth.
ACT II Valentin and Wagner are going off to war with the other soldiers, and Valentin is concerned about leaving his sister Marguerite unprotected. Wagner starts a song to cheer everyone up, but is interrupted by Méphistophélès. Méphistophélès tells fortunes: Wagner, it seems, will be killed in his first battle. The flowers that Siébel picks will wither, and Valentin will meet his death at the hands of someone close to Méphistophélès. Dissatisfied with the wine on offer, Méphistophélès conjures up a better vintage to toast Marguerite. This angers Valentin and both draw their swords. Valentin strikes out and his blade shatters. Everyone is convinced they are in the presence of the Devil. Méphistophélès leads Faust to a place where couples are dancing. Faust sees Marguerite and offers her his arm. She refuses, but so charmingly that he is left more entranced than before.
ACT III Siébel gathers flowers for Marguerite outside her house. As Méphistophélès predicted, they wither, but holy water seems to restore them. Méphistophélès and Faust have been watching, and Méphistophélès leaves a box of jewels for Marguerite. The atmosphere of innocence surrounding Marguerite's home moves Faust. Marguerite finds the jewels and puts them on. When she looks in the mirror, she sees a different woman and is further confused by the encouragement of her neighbour, Marthe. Faust and Méphistophélès return, and Méphistophélès flirts with Marthe, giving Faust the opportunity to seduce Marguerite. She begins to give in. Méphistophélès conjures up a garden and makes Marthe run off before disappearing himself. Marguerite realizes she loves Faust and they make love.
ACT IV Seduced and abandoned, Marguerite is expecting Faust's child. She is still in love with him and prays for him and their unborn child. The soldiers return with Valentin. Siébel tries to stop him seeing Marguerite but Valentin, suspecting the worst, pushes him aside. Outside her house, Méphistophélès serenades Marguerite on Faust's behalf. Valentin and Faust fight and, with the intervention of Méphistophélès, Valentin is fatally wounded. Marguerite watches her brother die and hears him curse her with his last breath. Distraught, Marguerite goes to church to pray for forgiveness. When she hears the voice of Méphistophélès telling her that she is damned, she collapses in terror.
ACT V Walpurgis Night. Faust and Méphistophélès are surrounded by a group of demons. Faust is shown a vision of Marguerite: she has been imprisoned for infanticide and gone insane. With Méphistophélès's help, Faust goes to the prison in an attempt to save Marguerite. She seems to recognize her lover and recalls the night when he first seduced her. Faust is overwhelmed with pity. Marguerite panics at the sight of the Devil and, with a frantic appeal to heaven, she dies. Méphistophélès damns her but angelic voices proclaim she is saved.
(Synopsis courtesy of the Metropolitan Opera)
Quantity: 1 Item
Quantity: Libretti collected in the early 20th century from performances of works by Carl Millöcker premiered in 1882. Folder includes 1 libretto.
Language: German .
Quantity: 1 Item
Quantity: Libretto of Carl Millöcker 's opera "Der Bettelstudent." No copyright or publication date listed by publisher.
(54 pages of text and scene descriptions and a partial list of characters. The front and back covers of the booklet are missing. The title page remains with the bottom portion missing as well as staining and pencil marks on the remaining portion. Pages in poor condition, with creasing, tears, stains, and fading. The last page or pages of the libretto seem to be missing along with the back cover. )Language: German .
Item Description: Libretto of Carl Millöcker's opera "Der Bettelstudent," or "The Beggar Student." First premiered in 1882, this libretto was written by librettists Z. Fell (Camillo Walzel), and Richard Genée. This comedy is partly based on "Les noces de Fernande" by Victorien Sardou and "The Lady of Lyons" by Edward Bulwer-Lytton, with the added element of combining love and politics to the French comedy plots. The publisher of this copy is unknown. What is left of the libretto includes 54 pages with text and scene descriptions of the performance and a partial list of characters.
Synopsis: Summary: In order to wipe out a proud Polish countess, a pompous Saxon colonel turns her daughter on a stray student as a noble groom. But the ruse does not work out in the end, not only does the revolt of the Poles against the occupiers succeed, but the "beggar student" is also raised to the nobility as a thank you for his help.
Synopsis: Act 1 Colonel Ollendorf seeks revenge against Laura Nowalska, who rebuffed him with her fan, offended by his advances. From an intercepted letter from Laura's mother, Countess Nowalska, he knows that only a Polish prince could be considered as a son-in-law for her. Ollendorf therefore intends to embarrass the Countess and her daughter in front of Krakow society. To do this, he needs two prisoners. One should be able to convincingly play a Polish prince and the other his secretary. He releases a seemingly penniless student Symon Rymanowicz and his friend Jan Janicki to pose as a millionnaire and his aide to entice the bankrupt but venerable Nowalska family. At the Krakow Spring Fair, Colonel Ollendorf and a group of his officers meet the Countess Nowalska and her two daughters "by chance". Ollendorf engages the ladies in conversation and remarks in passing that a well-to-do Polish prince named Wybicki has arrived in Krakow, where he wants to look for a bride. A few minutes later, he introduces the ladies to the supposed prince and his secretary. For Laura and Symon, it's love at first sight, and Laura's sister Bronislawa is attracted to Jan Janicki, even though he is not of nobility. When the two couples announce their engagements soon after, the Countess revels in happiness.
Act 2 The money that the colonel supplied to Symon is just about gone and he is no longer able to keep up the appearance of nobility. He and Laura have developed genuine feelings for each other and he struggles with the decision to tell her the truth. He writes a letter confessing the ruse. The colonel senses that the letter will end the plot, and convinces Laura's mother not to open it. Wedding guests arrive, everyone who has rank and name in Krakow does not want to miss this event. After the wedding ceremony, however, there are many uninvited guests: Enterich arrives with prisoners dressed in rags and greets the groom, a "beggar student", with them. Laura and her mother get upset. Symon thought that his bride knew who he was and asked her if she had not read his letter. Ollendorf confesses that it was leaked to him and never reached his recipient. Enterich brings the prisoners – except Symon and Jan – back to the dungeon and Symon the "beggar student" is expelled from the house.
Act 3 Symon is contemplating suicide, while Jan tries to persuade him against it. He still needs him for his patriotic plans. He now reveals his true identity: he is not a student, but Count Opalinski. part of a group of patriots who are planning to capture the citadel and to reinstate King Stanislaus. Ollendorf is told who Jan Janicki really is and what he intends to do. He received orders from the king to bribe him with 200,000 thalers so that he would betray the whereabouts of the Polish Duke Casimir in order to finally be able to arrest the leader of the insurgents. Janicki asks Symon to impersonate the grand duke until the money for his capture can be paid. Jan then collects the reward while Symon is arrested and taken away. Meanwhile, Laura realizes that she genuinely loves Symon. When she hears that he is to be executed, she begs for his life. Cannon shots sound. It becomes clear to everyone that the revolt of the Poles has succeeded. The Krakow Citadel is back in their hands. Ollendorf and his officers are disarmed and taken prisoner. Symon is raised to the nobility by the new king in gratitude for his patriotic commitment and receives the title of count. Now nothing stands in the way of a marriage with the Polish Countess. Laura's sister does not go away empty-handed either, as she will soon be able to adorn herself with the title of Countess Opalinski.
Quantity: 1 Item
Quantity: Libretti collected in the early 20th century from performances of works by Ruggero Leoncavallo premiered in 1892. Folder includes 1 libretto.
Language: German .
Quantity: 1 Item
Quantity: Libretto of Ruggero Leoncavallo's opera "Der Bajazzo," better known as "Pagliacci." No copyright or publication date is listed by publisher.
(47 pages of text and scene descriptions, a brief list of characters, and advertisements added on the back cover by the publisher. The front cover and back covers are in poor condition with the front cover loose from the spine. There are also multiple tears in and around the edges of the covers. Pages in okay condition, with creasing and slight staining. Pages are stiff within binding so handle with care. )Language: German .
Item Description: Libretto of Ruggero Leoncavallo's opera "Der Bajazzo," better known as "Pagliacci." First premiered in 1892, the libretto was written in Italian by Leoncavallo himself. This German edition with translation done by Ludwig Hartmann was published under Adolf Furstner. Leoncavallo actually based the story on an incident from his childhood: the 1865 murder of a Leoncavallo family servant. The incident stemmed from a series of perceived romantic entanglements involving the servant,the killer, and a village girl with whom both men were infatuated by. The libretto includes 47 pages with text and scene descriptions of the performance and a brief list of characters, and advertisements on the back cover included by publisher.
Synopsis: Summary: "Pagliacci" details a tragic series of events of actors in an Italian comedy troupe. It is also distinct in that the entire second act features a "play-within-a-play," where the crowd is watching another crowd watching a performance by the characters. In the end, the lines of reality become blurred between who is acting and who is not.
Synopsis: Prologue Near the end of the overture, Tonio slips out in front of the curtain and addresses the audience dressed as his troupe character, Taddeo. He warns us that we are about to see a real slice of life, and that actors, like us, are real people with real feelings.
Act I A troupe of clowns enters a small town to the delight of thronging inhabitants. They announce that they will be performing that very night. Tonio offers a hand to help leading lady Nedda, but is rudely pushed away by her husband, the jealous Canio, who is head of the troupe. A chorus of delighted villagers suggests friendly drinks at the local tavern. Canio accepts, but Tonio says he will have to wrap things up before he can join them. When villagers playfully suggest that Tonio might be sweet on Nedda, Canio's angry response is a surprise. He regains his composure and leaves with the revelers. As the church bells ring for vespers, Nedda is left alone to contemplate her confining life, her romantic yearnings and her fear of the volatile Canio. She watches the birds in the sky, admiring their song and envying their freedom. When Tonio returns and confesses his love for her, she treats him like the fool he plays onstage, contemptuously striking him with a whip. But Tonio knows that Nedda does indeed have a lover: Silvio, a man from town. He rushes away to tell Canio, who returns just in time to glimpse Silvio leaving Nedda after an apparent tryst. Though Canio gives chase, Silvio escapes without being recognized. Alone and tormented by jealousy, Canio prepares for the evening performance, donning his costume and makeup.
ACT II Townspeople excitedly assemble for the troupe's performance; Nedda in costume as her character Colombina, takes up the collection. Circulating among the onlookers, she's able to warn Silvio that he's in danger. As the play begins, we realize that the line between reality and fiction is blurring: While the flirtatious Colombina's husband Pagliaccio (played by Canio) is out for the night, her lover Harlequin climbs in the window, making sport of the foolish Taddeo. When Pagliacco returns, Harlequin escapes, and Colombina calls out to him with the same words Nedda used in parting with Silvio: "I will always be yours!" Canio is enraged. As the action onstage becomes more desperately real, the delighted townsfolk are enthralled with its intensity. Nedda tries to maintain the pretense, addressing her husband by his stage name, Pagliaccio. But Canio is no longer acting. He violently demands that Nedda reveal the identity of her actual lover. Then she, too, abandons the script, swearing she will never divulge his name. Canio grabs a knife and stabs Nedda and then Silvio, who has rushed to the stage to defend her. As the lovers die before the horrified audience, Canio announces "La commedia è finita!"—"The comedy is finished!"
Quantity: 1 Item
Quantity: Libretti collected in the early 20th century from performances of works by Richard Heuberger premiered in 1898. Folder includes 1 libretto.
Language: German .
Quantity: 1 Item
Quantity: Libretto of Richard Heuberger's opera "Der Opernball." No copyright or publication date is listed by publisher.
(47 pages of text and scene descriptions, a brief list of characters, and advertisements in the front and back of the booklet added by the publisher. The front cover and back covers are in okay condition with stains/marks and tears on the bottom corner. Pages are thin but in okay condition, with slight staining and more creasing in the pages towards the back of the booklet. )Language: German .
Item Description: Libretto of Richard Heuberger's opera "Der Opernball," or "The Opera Ball." First premiered in 1898, the libretto was written by Victor Léon and Heinrich von Waldberg, with this edition published under Adolf W. Kunast. The plot for this three-act operetta is based on the 1876 comedy "Die Rosa-Dominos" by Alfred-Charlemagne Delacour and Alfred Hennequin. The libretto includes 47 pages with text and scene descriptions of the performance, a brief list of characters, and several pages of advertisements in the front and back of the booklet included by publisher.
Synopsis: Summary: A ruse to test husbands' fidelity resulting in chaos provides the premise for "Der Opernball." The ruse takes place at a grand ball with disguises, mistaken identities, and illicit encounters. In the end, it seems that the moral of the story is if someone tries to be unfaithful, they will be forgiven as long as their attempts are unsuccessful.
Synopsis: Act I Paul and Angèle Aubier pay a visit to the home of Georges and Marguérite Duménil. Marguérite tells Angèle she is convinced her husband, if presented with the opportunity, would readily have an affair. They ask the Duménils' chambermaid, Hortense, to send two anonymous letters to Paul and Georges to attend a ball. Each assumes that their invitation is from a secret admirer who will be wearing a dress with a pink domino to identify herself. Both women intend to catch their husbands trying to seduce another woman by wearing the same outfit. Unknown to anyone, Hortense decides to attend the ball herself using the same scheme; as she has her eyes on a naval cadet named Henri
Act II At first, the two wives have the upper hand, leading Paul and Georges to meet each other rather than their desired assignation. But then each man sees Hortense, wo has donned the same visual cue – the pink domino – as Angèle and Marguérite. They try their luck to engage with her, but in the process Hortense's pink domino is destroyed. Marguérite and Angèle are both unaware of the presence of Hortense.
Act III Back at his house, Georges discovers the writing paper used for the invitations and suspects that foul play is involved. However, he jumps to the wrong conclusion and challenges Paul to a duel. Only the intervention of their wives will prevent their ruse from turning into a tragedy. Marguérite and Angèle show their intact pink dominoes, which nominally proves the fidelity of their husbands. The role of Hortense in the plot is then revealed to all when Henri reveals the third invitation and exposes Hortense as its author.
(Synopsis courtesy of Vienna Opera Tickets (Vienna State Opera))
Quantity: 1 Item
Quantity: Libretti collected in the early 20th century from performances of works by Gustav Albert Lortzing premiered in 1837. Folder includes 1 libretto.
Language: German .
Quantity: 1 Item
Quantity: Libretto of Gustav Albert Lortzing's opera "Czar und Zimmermann." No copyright or publication date is listed by publisher.
(48 pages of text and scene descriptions, a brief list of characters, and advertisements added on the inside of the front and back cover by the publisher. The front cover and back covers are in fair condition with slight creasing and wear on spine. Pages in fair condition with slight coloration from age. )Language: German .
Item Description: Libretto of Gustav Albert Lortzing's opera "Czar und Zimmermann," or "The Czar and the Carpenter." First premiered in 1837, the libretto was written by Lortzing himself, with this edition published under Breitkopf and Hartel. The plot is based on Georg Christian Römer's "Der Bürgermeister von Saardam, oder Die zwei Peter," which was itself based on the French play "Le Bourgmestre de Saardam, ou Les deux Pierre" by Mélésville, Jean-Toussaint Merle, and Eugène Centiran de Boirie. This opera also draws inspiration from The Grand Embassy, a diplomatic mission to Western Europe run by Peter the Great in the late 17th century. The libretto includes 48 pages with text and scene descriptions of the performance, a brief list of characters, and advertisements inside the front and back covers included by publisher.
Synopsis: Summary: Two Peters have good reason to hide their true identities in the Dutch port city of Saardam: Peter Ivanov is a deserter of the Russian army, and Peter Mikhailov is actually the tsar of all Russia. The Czar is undercover working in the docks to learn shipbuidling techniques for his navy, but because of growing unrest in Russia, he has to return home as soon as possible. Ivanov, however, wants to stay for he is in love with Marie, the niece of the city's Mayor Van Bett. With the news that the Czar is in the city in disguise, an English and a French envoy try to find out which of the two Peters is the real Czar. Mayor Van Bett also wants to know, but inadvertently causes confusion rather than enlightenment through his various act to befriend the "real Czar." In the end, a passport and a letter finally ensure a happy ending for both Peters.
Synopsis: Act I Czar Peter I is working as a carpenter in the shipyard in Saardam under the name Peter Michaelow in order to familiarize himself with the techniques of shipbuilding for his navy. While there, he befriends Peter Ivanov, a Russian army deserter who is also a carpenter and in love with Marie, the niece of the Burgomaster (mayor). Meanwhile, the Buromaster Van Bett, who is as pompous as he is incompetent, learns that the Czar is in his city. Van Bett, however, comes to the wrong conclusion that Peter Ivanov is the Czar. General Lefort, the Russian envoy, informs his monarch about unrest that has broken out in Russia. The situation is serious and requires his presence. As a result, the Czar orders preparations to be made for his journey home. His situation is then complicated with the arrival of envoys from England and France, Lord Syndham and Marquis de Châteauneuf, respectively. They are also trying to identify him and win him over for their own political goals. Unlike Chateauneuf, who has realized that Peter Michaelov is the Czar, Lord Syndham, like the mayor, considers Peter Ivanov to be the tsar.
Act II Peter Ivanov is pressured by the English envoy to enter into an alliance with his country, however, it falls on deaf ears. Suddenly, a Dutch officer with soldiers enters. Because it has often happened that experienced shipyard workers have been poached by strangers, the government now wants to find out who is behind it. Van Bett intervenes energetically and accuses the foreign envoys, all of whom are present incognito, of dark machinations. However, they can prove their innocence. In the end, Van Bett is convinced that Peter Michaelow, i.e. the Tsar, could be considered as a poacher, and a big scuffle ensues.
Act III In order to be able to receive the high ruler of Russia in a dignified manner, Van Bett rehearses a cantata of homage written by him and the cantor with some citizens of his city. Meanwhile, his niece is deeply saddened that her beloved Peter (Ivanov) is supposed to be the Czar, because then the wedding could not take place because of the difference in status. When she pours out her heart to the real Czar, he comforts her and announces a happy ending. On the docks, the government has closed the port, making the Czar Peter I unable to leave. That's when his friend Ivanov comes to his aid. At yesterday's feast, he received a diplomatic passport from the English envoy, which he is now giving to the Czar. In gratitude for this, he receives a sealed letter from him, which he is not allowed to open for another hour. Van Bett finally arrives with his choir to flatter the supposed Czar. Peter Ivanov calmly endures everything. Quite surprisingly, the news arrives that the real Czar is about to leave the city on board a Russian ship. Peter Ivanov finally reads out his friend's letter: "I hereby give my consent to the marriage of the Imperial Chief Overseer Peter Ivanov with the niece of the weak-headed mayor ..."
Quantity: 1 Item
Quantity: Libretti collected in the early 20th century from performances of works by Jacques Offenbach premiered in 1881. Folder includes 1 libretto.
Language: German .
Quantity: 1 Item
Quantity: Libretto of Jacques Offenbach's opera "Hoffmanns Erzahlungen," better known as "Les contes d'Hoffmann" or "The Tales of Hoffman." No copyright or publication date is listed by publisher.
(38 pages of text and scene descriptions, a brief list of characters, and a few pages of advertisements added in the back of the booklet by the publisher. The front cover and back covers are missing condition, leaving advertisement pages included by the publisher to act as the cover. Paper is loose and curling around the staples in the spine of the booklet. Pages in okay condition but look quite worn with coloration from age as well as creasing. )Language: German .
Item Description: Libretto of Jacques Offenbach's opera "Hoffmanns Erzahlungen," better known as "Les contes d'Hoffmann" or "The Tales of Hoffman." First premiered in 1881, the French libretto was written by Jules Barbier with this edition published under Albert Ahn. This opera fantastique was based on three short stories written by the real E.T.A. Hoffmann. The libretto includes 38 pages with text and scene descriptions of the performance, a brief list of characters, and advertisements included by publisher.
Synopsis: Summary: In Luther's tavern in Munich - where the opera begins and ends - the poet Hoffmann, with his confidant Nicklausse, begins to tell the story of his three unfortunately love affairs, in which Councillor Lindorf has played a crucial role, dressed in three different costumes, each more diabolical than the others. In Hoffmann's mad passion for Olympia the mechanical doll, Lindorf has become Coppélius, a street vendor crushing the poet's impossible dream. With the singer Antonia, he was Doctor Miracle, a maleficent charlatan whose advice struck down the girl, thereby killing the mad love Hoffman had for her. Finally, in Venice, the magician Dapertutto has manoeuvred the courtesan Giulietta – the object of Hoffmann's desires – so that she obtains his reflection - in other words, his soul. In the end, Hoffmann once again leaves empty handed with only a new story of his affairs to tell.
Synopsis:
PROLOGUE The poet E.T.A. Hoffmann is in love with Stella, a renowned opera singer. Lindorf, a rich counselor, also loves her and has intercepted a note she has written to Hoffmann. Lindorf is confident he will win her for himself. Arriving at Luther's tavern with a group of students, Hoffmann sings a ballad about a disfigured dwarf named Kleinzach. During the song, his mind wanders to recollections of a beautiful woman. When Hoffmann recognizes Lindorf as his rival, the two men trade insults. Hoffmann's Muse, who has assumed the guise of his friend Nicklausse, interrupts, but the encounter leaves the poet with a sense of impending disaster. He begins to tell the stories of his three past loves.
ACT I In his workshop in Paris, the eccentric inventor Spalanzani has created a mechanical doll named Olympia. Hoffmann, who thinks the girl is Spalanzani's daughter, has fallen in love with her. Spalanzani's former partner Coppélius sells Hoffmann a pair of magic glasses, through which he alone perceives Olympia as human. When Coppélius demands his share of the profits that the two inventors expect to make from the doll, Spalanzani gives him a worthless check. Guests arrive at the fairground, and Olympia captivates the crowd with the performance of a dazzling aria, which is interrupted several times in order for the doll's mechanism to be recharged. Oblivious to this while watching her through his glasses, Hoffmann is enchanted. He declares his love, and the two dance. Olympia whirls faster and faster as her mechanism spins out of control. During the melee, Hoffmann's glasses break. Coppélius, having discovered that the check was worthless, returns in a fury. He grabs Olympia and tears her apart as the guests mock Hoffmann for falling in love with a machine.
ACT II At an elegant home in Munich, the young girl Antonia sings a plaintive love song filled with memories of her dead mother, a famous singer. Her father, Crespel, has taken her away in the hopes of ending her affair with Hoffmann and begs her to give up singing: She has inherited her mother's weak heart, and the effort will endanger her life. Hoffmann arrives, and Antonia joins him in singing until she nearly faints. Crespel returns, alarmed by the arrival of the charlatan Dr. Miracle, who treated Crespel's wife the day she died. The doctor claims he can cure Antonia, but Crespel accuses him of killing his wife and forces him out. Hoffmann, overhearing their conversation, asks Antonia to give up singing, and she reluctantly agrees. The moment he has left, Miracle reappears, urging Antonia to sing. He conjures up a vision of her mother, who claims she wants her daughter to relive the glory of her own fame. Antonia can't resist. Her singing becomes more and more feverish until she collapses. Miracle coldly pronounces her dead.
ACT III At her palace in Venice, the courtesan Giulietta joins Nicklausse in singing a barcarole. A party is in progress, and Hoffmann mockingly praises the pleasures of the flesh. When Giulietta introduces him to her current lover, Schlémil, Nicklausse warns the poet against the courtesan's charms. Hoffmann denies any interest in her. Having overheard them, the sinister Dapertutto produces a large diamond with which he will bribe Giulietta to steal Hoffmann's reflection—just as she already has stolen Schlémil's shadow. As Hoffmann is about to depart, Giulietta seduces him into confessing his love for her. Schlémil returns and accuses Giulietta of having left him for Hoffmann, who realizes with horror that he has lost his reflection. Schlémil challenges Hoffmann to a duel and is killed. Hoffmann takes the key to Giulietta's boudoir from his dead rival but finds the room empty. Returning, he sees her leaving the palace in the arms of the dwarf Pitichinaccio.
EPILOGUE Having finished his tales, all Hoffmann wants is to forget. Nicklausse declares that each story describes a different aspect of one woman: Stella. Arriving in the tavern after her performance, the diva finds Hoffmann drunk and leaves with Lindorf. The muse sheds the form of Nicklausse and resumes her true appearance, telling the poet to find consolation in his creative genius.
(Synopsis courtesy of the Metropolitan Opera)
Quantity: 1 Item
Quantity: Libretti collected in the early 20th century from performances of works by Friedrich Hebbel premiered in 1862. Folder includes 1 libretto.
Language: German .
Quantity: 1 Item
Quantity: Booklet of Friedrich Hebbel's three-part drama "Die Nibelungen." Booklet published in 1862 under Philipp Reclam Jr.
(213 pages of text and sometimes brief scene descriptions, a brief list of characters, forward section, dedication section, and advertisements of other works by Hebbel added in the back by the publisher. The front cover and back covers are in okay condition with visible wear and tear as well as rips and fragments coming off of the spine. Pages in okay condition but in danger of easily falling or tearing out of binding. Some pages also feature cursive writing in German as well as small sketches and doodles in pencil. )Language: German .
Item Description: Booklet of Friedrich Hebbel's three-part drama "Die Nibelungen." First premiered in 1862, this tragedy was written by Hebbel and published under Philipp Reclam Jr. The material of this drama is from the Nibelungen saga, a heroic saga widespread in continental Germanic and Scandinavian countries. This drama was originally meant to be performed over two days with three sections: Der gehörnte Siegfried (The Horned Siegfried), Siegfrieds Tod (Siegfried's Death), and Kriemhilds Rache (Kriemhild's Revenge). The booklet includes 213 pages of text and sometimes brief scene descriptions, a brief list of characters, a forward section, dedication section, and advertisements of other works by Hebbel added in the back by the publisher.
Synopsis: Synopsis:
Der gehörnte Siegfried (The Horned Siegfried)
Stagnation and boredom reign at the court of the Burgundian King Gunther in Worms. A song by the minstrel Volker is intended to provide distraction. It is about the beautiful but invincible Brunhild. Gunther is enthralled and decides that he wants to marry this woman. Then in steps the hero Siegfried, who has come to the court to woo and marry Kriemhild, Gunther's sister. Siegfried tells of his heroic deeds: of how he obtained the sword Balmung and the Nibelungen hoard including an invisibility cloak and killed a dragon. He tells of bathing in the dragon's blood, which made his skin invulnerable. Gunther wants to take advantage of the situation. He proposes a pact to Siegfried: Siegfried is to help Gunther make Brunhild his wife, and in return he will not stand in the way of Siegfried's marriage to Kriemhild. Siegfried agrees, and together, Gunther, his brother Gernot, Gunther's uncle Hagen von Tronje and Siegfried set off for Isenland, Brunhild's homeland.
Siegfrieds Tod (Siegfried's Death)
Brunhild receives the warriors and makes it clear that no one will leave Isenland alive if she is not defeated. Since Gunther does not have the necessary strength for this, Siegfried fights for him under the cloak of invisibility. Brunhild, who does not notice the deception, is impressed and agrees to marry Gunther. Siegfried hurries ahead to Worms to announce the arrival of Brunhild. On this occasion he sees Kriemhild for the first time longer and obtains a favor from her. He is also introduced to her mother. With the arrival of the other Isenlanders, discordant tones mingle into the scene. The warlike Brunhild does not want to fit into the court. Hagen points out an additional problem to Siegfried: Gunther cannot enforce his claims against Brunhild in bed. Siegfried has to help once again. With the help of the invisibility cloak, he is supposed to make Brunhild submissive on the wedding night. In a scramble, Siegfried snatches a belt from Brunhild, which then falls into Kriemhild's hands. Later, on the occasion of Siegfried and Kriemhild visiting Gunther and Brunhild, a dispute occurs over the right of way into the interior of the church. Kriemhild insults Brunhild as a "Kebsweib" (mistress) of her husband Siegfried. Brunhild is deeply offended and demands the death of Siegfried from King Gunther. Hagen is ready to avenge Brunhild, and with the king's permission, he tricks Kriemhild into revealing to him the place where Siegfried is vulnerable. While bathing in the dragon's blood, a linden leaf fell between Siegfried's shoulder blades, only there he is vulnerable. They invite Siegfried to a hunt. Siegfried agrees and ignores Kriemhild's warnings. During the hunt, Hagen stabs Siegfried, who has bent over a spring to drink, in the back. Kriemhild becomes suspicious and demands Hagen's death, which is denied to her by King Gunther.
Kriemhilds Rache (Kriemhild's Revenge)
Seven years pass. Kriemhild is still looking for revenge. In the meantime, Hagen has taken possession of the Nibelungen hoard for the Burgundians and sunk it in the Rhine to prevent Kriemhild from using it to recruit mercenaries. Once again, Kriemhild turns to Gunther. He should put Hagen on trial. Gunther refuses. Kriemhild realizes that she no longer has any friends among the Nibelungs. When King Eztel asks for her hand in marriage she agrees. Hagen is against Kriemhild's marriage to Etzel. However, Gunther does not respond to his warnings. Another seven years later, the Nibelungs visit Kriemhild at King Etzel's castle with a large entourage. Dietrich von Bern, a voluntary vassal of Etzel, warns the Burgundians of Kriemhild's revenge. Kriemhild demands revenge for Siegfried from Etzel, to whom she has given birth to a son, Odnit. Etzel rejects them because the Burgundians enjoy the right of hospitality. Kriemhild turns to Werbel, to whom she promises the Nibelungen hoard if he clears Burgundians out of the way. During the feast of the princes, Werbel slaughters the retinue of the Burgundians. When the news of what happened reaches Etzel's banquet, Hagen cuts off Odnit's head. The battle now breaks out among the princes as well. In the end, only Gunther, Gernot, Giselher, Volker and Hagen are still alive from the Burgundian side. Kriemhild demands that her requested oath of allegiance is kept, and he kills Gernot and Giselher, but fails because of Hagen. Now Dietrich intervenes in the fight, overcomes Hagen and Gunther and brings them tied up to Kriemhild and Etzel. Kriemhild has Gunther killed and in her own anger kills Hagen. Hildebrand, a follower of Dietrich, is so disgusted that he kills Kriemhild. In the face of the bloodbath, Etzel relinquished his crown and handed over the lordship to Dietrich of Bern.
Quantity: 1 Item
Quantity: Libretti collected in the early 20th century from performances of works by Viktor Nessler premiered in 1884. Folder includes 1 libretto.
Language: German .
Quantity: 1 Item
Quantity: Libretto of Viktor Nessler's opera "Der Trompeter von Säkkingen." No copyright or publication date is listed by publisher.
(53 pages of text and scene descriptions, a brief list of characters, and advertisements added in the last pages and inside of back cover by the publisher. The front cover and back covers are in okay condition but have several stains and marks as well as tears along the edges and spine. There are also multiple tears in and around the edges of the covers. Pages in okay condition, with significant fading from age as well as creasing in corners. )Language: German .
Item Description: Libretto of Viktor Nessler's opera "Der Trompeter von Säkkingen." First premiered in 1884, the libretto was written by Rudolf Bunge with this edition published under J. Schuberth and Co. This opera is contained within a prologue and three acts with a plot based on the epic poem, "Der Trompeter von Säkkingen" by Joseph Victor von Scheffel in 1853. The libretto includes 53 pages of text and scene descriptions, a brief list of characters, and advertisements added in the last pages and inside of back cover by the publisher.
Synopsis: Summary: A trumpeter named Werner Kirchhofer falls in love with Maria, the daughter of the Baron, but her father and mother want her to marry a Damian, a cowardly son of the Graf von Wildenberg. Werner eventually proves himself a hero and is conveniently discovershe is of of noble birth, so all ends happily.
Synopsis:
Prologue: Werner Kirchhofer, a law student at Heidelberg, is expelled for causing a disturbance outside the window of the Electress Palatinate. He and the other students join the Landsknecht troopers, Werner as its trumpeter.
Act I The town of Säckingen is celebrating the feast day of St Fridoline, the Irish missionary who founded Säckingen Abbey in the sixth or seventh century. Peasants dance and sing, but they are also on the eve of revolt against the nobility. Werner saves Maria, his commanding officer's pretty daughter, and her aunt, the Gräfin von Wildenberg, from the Hauenstein peasants. Maria falls in love with him, while the Gräfin is reminded of her long-lost son, kidnapped by gypsies.
Meanwhile in the castle, the Freiherr von Schönau, Maria's father, grumbles about his gout, for which the best cure is good wine. He receives a letter from the Graf von Wildenberg, who wants his son Damian to marry Maria. This will close a breach between the two families; the Graf and Gräfin separated after the loss of their son. The Freiherr, on Maria's suggestion, hires Werner as his bugler at the castle.
Act II The Gräfin surprises Werner making advances on Maria while he should be teaching her music. Reluctantly, the Graf fires his bugler, who rejoins the regiment, bidding a sad farewell to Maria.
Act III The peasants attack the castle, but Werner bravely repels them. Damian (who has arrived with his father) scarcely covers himself in glory; he runs away from the enemy. Maria certainly doesn't want to marry Damian, who is an idiot and a coward – but the Graf doesn't want her to wed a commoner, even one who's brave and has been to Heidelberg. Fortunately, Werner isn't a commoner but the Gräfin's son, kidnapped by gypsies as a baby. She recognizes him because he has a strawberry birthmark on his arm. Werner and Maria are engaged and all ends well.
Quantity: 1 Item
Quantity: Libretti collected in the early 20th century from performances of works by Ambroise Thomas premiered in 1866. Folder includes 1 libretto.
Language: German .
Quantity: 1 Item
Quantity: Libretto of Ambroise Thomas' opera "Mignon." No copyright or publication date is listed by publisher.
(44 pages of text and scene descriptions, a brief list of characters, and advertisements added on the final pages as well as inside the back cover by the publisher. The front cover and back covers are in fair condition with only slight fading and stains/marks along the edges. Pages in fair condition with slight fading from age. )Language: German .
Item Description: Libretto of Ambroise Thomas' opera "Mignon." First premiered in 1866, the libretto was originally written in French by Jules Barbier and Michel Carré. This German edition with translation done by Fred. Gumbert was published under Adolf W. Kunast. This Opéra comique was written for three acts, with a plot based the 1795 novel "Wilhelm Meisters Lehrjahre" by Goethe. The libretto includes 44 pages of text and scene descriptions, a brief list of characters, and advertisements added on the final pages as well as inside the back cover by the publisher.
Synopsis: Summary: "Mignon" follows the story of a band of traveling performers, and devolves into chaos as a love triangle forms between two of the performers Mignon and Philine and a man named Wilhelm.
Synopsis: Act I In the courtyard of an inn in a small German town, the wandering minstrel Lothario sings and the Gypsies dance while the townspeople watch and drink. Philine and Laertes, on the way with their troupe to give a theatrical performance in a neighbouring castle, appear on a balcony. Jarno, chief of the gypsy band, threatens Mignon with a stick when she refuses to dance, but Lothario and Wilhelm Meister come to her aid. She thanks them and divides her bouquet of wildflowers between them. Wilhelm and Laertes have a drink together. Philine and Laerte then leave, after Wilhelm gives her his flowers from Mignon. Later, Mignon tells Wilhelm she was captured by Gypsies as a child. Wilhelm decides to purchase Mignon's freedom. Lothario comes to say goodbye to Mignon. Lothario wants Mignon to travel with him, but she stays with Wilhelm. Frédéric lovingly follows Philine in, but she also wants Wilhelm. The acting troupe is about to set off for a baron's castle after receiving an invitation to perform there. Mignon is deeply in love with Wilhelm, but upset to see the flowers that she gave him in the hands of Philine.
Act II In the baron's castle, Philine is elated, living in luxury of the charming baron. Laerte is heard outside, praising Philine. Wilhelm and Mignon enter. She pretends to sleep while Wilhelm and Philine sing. When the couple leave, Mignon tries on Philine's costumes and make-up, overcome with jealousy. After leaving to an adjoing room, Frédéric enters. When Wilhelm returns lookin for Mignon he is confronted by Frédéric. Mignon rushes in to break up their impending fight, causing Frédéric to laugh at her outfit. Wilhelm, embarassed, decides that he cannot stay with Mignon and says goodbye to her. He leaves arm-in-arm with a jubilant Philine. Later, in the courtyard of the castle, Mignon is consumed by a jealous rage, when she hears Lothario playing the harp. He comforts the girl. Philine's portrayal of Titania in A Midsummer Night's Dream is applauded in the conservatory. Mignon, in jealousy, shouts that she wishes the building would catch fire and runs out. Lothario hears her and moves toward the conservatory. After Mignon returns, Wilhelm receives her so warmly that Philine, now jealous, sends her to fetch the wildflowers in the conservatory. Wilhelm rushes to save Mignon from the fire that Lothario had set to please Mignon, carrying her unconscious body out of the conservatory with the singed flowers still in her hand.
Act III Wilhelm has brought Mignon and Lothario to a castle in Italy which he considers buying. There an old man watches over Mignon and prays for her recovery. Antonio relates how the castle's previous owner had gone mad after his wife had died of grief over the loss of their young daughter. Wilhelm decides to buy the castle for Mignon because it has so speeded her recovery. Mignon awakens and confesses to Wilhelm of her love for this strangely familiar place. He finally realizes that he loves her deeply and resists Philine's attempts to win him back. Lothario re-enters and informs the couple that he is the owner of the castle and that returning here has restored his sanity. After reading a prayer found in a book in the house, Mignon realizes that she is his daughter. The three embrace happily.