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VICTOR RECORDS Number | = Blue Paradise Medley—One-Step (See “‘ Medley No. 69” | See also ‘Auf Wiedersehn’’) Conway’s Band 35502| 12}1.25 Miss Vixen—Fox Trot (R. H. Bowers) Conway’s Band.
“Blue” Records—See “Chinese Blues’’—‘“‘Hesitation Blues’’—“‘Joe Turner
Blues”—“‘ Kansas City Blues’’—‘‘ Livery Stable Blues ’”’—‘*‘ Money Blues ’’—‘“* Nigger Blues’’—‘‘ Paradise Blues”
Boccaccio March (von Suppé) Pryor’s ee Valse Bleue (Margis) Sousa’s Band.
BOCCOLINI, E.—See “Minuet ’’ and “ Wally, La”
BOHEME, LA (Boh-ehm’) (The Bohemians) (Jn Italian unless noted)
Text by Giacosa and Illica; music by Puccini. First produced at Turin, 1896. In English, as “* The Bohemians,”’ in London, 1897. In Italian at Covent Garden, 1899. First American production, November 28, 1899.
Puccini's Bohéme is an adaptation of part of Miirger’s La Vie Bohéme, which depicts life in the Quartier Latin, or the Students’ Quarter, in 1830. The principal characters in Puccini’s opera are the inseparable quartet described by Miirger, who with equal cheerfulness defy the pangs of hunger and the landlord of their little garret. Rudolph, a poet; Marcel, a painter; Colline, a philosopher; and Schaunard, a musician, are our friends who occupy an attic in the Quartier Latin, where they live and work together. Improvi
16922)10) .75
ae Waves Waltz (Valverde) Hurtado Bros. Marimba Pend 1.25 Thousand and One Night—Waltz Hurtado Bros. Marimba Band |*5585|'2/'. fier Song (Moses-Ware) (Pianoforte acc. by Harriet Ware) Vr | 75 Joy of the Morning (Markham-Ware) John Barnes Wells BAGI2 ee! Boats Sail on the Rivers (2) SingtoMe,Sing (Homer) Homer'|87205 10|2.00 {een Up and Down—Medley 1-Step (See “Medley 70”) Victor B 5 International Rag—Medley (Berlin) Victor Bend} ASSL CE? Bob’s Favorite Virginia Reel (Bennet) Victor Dance Orch/|31632) 12/1.00
PAINTED. BY BALESTRIERI pase THE DEATH OF MIMI dent, reckless and careless, these happy-golucky Bohemians find a joy in merely living, being full of faith in themselves.
Rudolph makes the acquaintance of Mimi, a little flower-maker; Marcel meets the gay Musetta, who plays fast and loose with him. Alternate quarrels and reconciliations fill the lives of these lovers, but the final separation ends with the sad death of Mimi, at the close of the opera. In the scenes of careless galety is interwoven a touch of pathos; and the music is in turn lively and tender, with a haunting sweetness that is most fascinating.