Victor records (May 1914)

VICTOR RECORDS TAMAGNO, Francesco, Tenor (Tahm-mahn -yoh) On August 31, 1905, at the age of 54, this famous artist, the greatest tenor of his time, died at Varese, Italy. Tamagno was the son of a rural inn-keeper near Turin, and to his active out-door life he doubtless owed his wonderful physique — that great chest and iron throat which produced the wonderful robusto tones that aie still remembered. Though this great singer has passed away, we ccn still hear that matchless voice, thanks to science, which has made it possible to record it imperishably. Delightful as it is for one’s own diversion to bring back the true record and ring of a voice that is far away, how much stranger, how much more extraordinary it seems when we are able to recall from the world of shadows the sound of a voice that is still ! Records of this famous artist are issued only by the Victor Company, Tamagno having agreed not to sing for any other company during his lifetime. TAMAGNO RECORDS In Italian C0PY*T OUPO Guillaume Tell (William Tell) O muto asil (Blessed Abode) Rossini 95009 Otello — Morte d'Otello (Death of Othello) Giuseppe Verdi 95002 Otcllo — Ora e per sempre (Forever Farewell) Giuseppe Verdi 95003 Proph^te — Inno (Flymn) Giacomo Meyerbeer Trovatore — Di quella pira (Tremble, Ye Tyrants) Giuseppe Verdi Tambourin (Rameau-Kreisler I (2) Moment Musical (Schubert) Violin Fritz Kreisler Tambourin (Gossec) (2) Gavotte (Gretry) Violin Elman ITammany Two-Step (Edwards) Victor Dance Orchestral I Pearls of Dew Mazurka Victor Dance Orchestra l Tancredi Overture (Rossini) Sousa’s Band TANGOS — For Dancing — See “Dance Records” Tannenbaum — -See “German Records” 95005 95006 74202 64198 35037 31369 10 5.00 10 5.00 5.00 5.00 5.00 1.50 1.00 1.25 1.00 TANNHAUSER {Tahn' -hoy-zer) Words and music by Richard Wagner. First presented Dresden, 1845 ; Paris, 1861 : London, 1876; New York, 1859. Tannhduser, with its poetry, romance and passion; its characters, who are real human beings and not mysterious mythological gods, goddesses and heroes, appeals strongly to the average opera-goer. The story tells of conflict between two kinds of love : true love of the -highest human kind as distinguished from mere sensuous passion ; and relates how the higher and purer love triumphed in the end. Tannhduser, a knight and minstrel, in an evil moment, succumbs to the wiles of Venus and dwells for a year in the Venusberg. Tiring of these monotonous delights, he leaves the goddess and returns to his home, where he is warmly received and told that the fair Elizabeth, niece of the Landgrave, still mourns for him. He is urged to compete in the Tournament of Song not far distant, the prize being the hand of Elizabeth. The theme of the contest is The Nature of Love, and when Tannhduser ’s turn arrives the evil influence of the Venusberg is apparent when he delivers a wild and profane eulogy of passion. Outraged by this insult, the minstrels draw their swords to slay him, but Tannhduser is protected by Elizabeth, who pleads for his life. Coming to his senses, too late, he repents, and when a company of Pilgrims pass on their way to Rome, he joins them to seek pardon for his sin. In the last act we see Elizabeth, weary and worn, supported by the noble Wolfram, who also loves her, watching for the Pilgrims to return, but Tannhduser is not among them. Elizabeth is overcome with disappointment and feebly returns to her home. Tannhduser now appears, in a wretched plight, on his way to re-enter the Hill of Venus. He tells Wolfram that he appealed to the Pope for pardon, but was told that his redemption was as impossible as that the Pope’s staff should put forth leaves. Wolfram ’s remonstrances are in vain, and Tannhduser is about to invoke the goddess, when a chant is heard and the Pilgrims appear, announcing that the Pope’s staff had blossomed as a sign that the sinner was forgiven. Tannhduser kneels in prayer as the mourners pass with the body of Elizabeth, who, overcome by her bitter disappointment, had suddenly passed away.