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 does, let him examine the records, where he also may discover astonishing details concerning the presentation of the other operas offered during this season, which derives its magnificence from the presence of the elder Garcia and the young Malibran in the company. Thereafter, as before, on through the Mapleson seasons at the Academy of Music, operas were produced with due regard for the caprices of prime donne, and the pocket-books of impresarii. The ignorance of the public was taken for granted. Emma Abbott interpolated the Lullaby from Erminie in The Mikado and Adelina Patti interpolated Home Sweet Home in any opera she happened to be singing. To this day you may hear Frieda Hempel sing Keep the home fires burning somewhere in The Daughter of the Regiment.

This reference to Mme. Hempel has reminded me that I cannot recall a single opera in the repertory of the Metropolitan Opera House which has not undergone some change or other, many of them very considerable, and almost all of them advantageous. However, I prefer to hear and see the church scene in Faust given, as it appears in the score, after the death of Valentin, rather than before, as it is sung in our theatre and almost everywhere else. Valentin's air, Dio possente, was written for an Italian performance of the opera in London; it is never sung in Paris,