CHAPTER XV

"BORIS GODOUNOFF"

First performance of Moussorgsky's opera in New York,
Participation of the chorus in the tragedy,
Imported French enthusiasm,
Vocal melody, textual accents and rhythms,
Slavicism expressed in an Italian translation,
Moussorgsky and Debussy,
Political reasons for French enthusiasm,
Rimsky-Korsakoff's revision of the score,
Russian operas in America,
"Nero," "Pique Dame," "Eugene Onegin,"
Verstoffeky's "Askold's Tomb,"
The nationalism of "Boris Godounoff,"
The Kolydda song "Slava" and Beethoven,
Lack of the feminine element in the drama,
The opera's lack of coherency,
Cast of the first American performance,

CHAPTER XVI

"MADAME SANS-GENE" AND OTHER OPERAS BY GIORDANO

First performance of "Madame Sans-Gene,"
A singing Napoleon,
Royalties in opera,
Henry the Fowler, King Mark, Verdi's Pharaoh, Herod, Boris Godounoff, Macbeth,