This is a table of type quadgram and their frequencies. Use it to search & browse the list to learn more about your study carrel.
quadgram | frequency |
---|---|
the metropolitan opera house | 165 |
for the first time | 142 |
at the same time | 132 |
one of the most | 107 |
the close of the | 93 |
the academy of music | 93 |
the end of the | 89 |
on the other hand | 87 |
at the metropolitan opera | 83 |
the whole of the | 78 |
at the end of | 77 |
in the second act | 72 |
for the sake of | 67 |
the royal italian opera | 63 |
at the close of | 62 |
the music of the | 60 |
the rest of the | 58 |
is one of the | 57 |
of the metropolitan opera | 57 |
the middle of the | 56 |
in the course of | 55 |
the beginning of the | 55 |
on the part of | 54 |
in spite of the | 53 |
in the first act | 52 |
it was not until | 52 |
in the midst of | 52 |
the story of the | 51 |
the part of the | 51 |
in the middle of | 50 |
seems to have been | 47 |
as a matter of | 47 |
for the most part | 46 |
in the last act | 45 |
the opening of the | 44 |
a great deal of | 43 |
in the third act | 43 |
in the presence of | 42 |
it would have been | 42 |
of the first act | 42 |
a good deal of | 41 |
at the academy of | 40 |
was one of the | 40 |
of the second act | 39 |
and it was not | 39 |
the first time in | 39 |
from time to time | 39 |
a life for the | 39 |
life for the tsar | 39 |
that is to say | 38 |
on the point of | 37 |
in the history of | 36 |
the scene of the | 35 |
in the case of | 35 |
of the eighteenth century | 33 |
of the nineteenth century | 32 |
in the united states | 32 |
the angel of music | 32 |
the fact that the | 31 |
as if he were | 31 |
of the third act | 31 |
at the beginning of | 30 |
for the purpose of | 30 |
at the time of | 29 |
the character of the | 29 |
on the subject of | 29 |
the conclusion of the | 29 |
the door of the | 28 |
the name of the | 28 |
the presence of the | 28 |
a matter of fact | 27 |
the first act of | 27 |
to be found in | 27 |
in a tone of | 27 |
in the way of | 27 |
in consequence of the | 27 |
falls on the gods | 27 |
that it would be | 27 |
night falls on the | 27 |
the history of the | 26 |
on the other side | 26 |
and at the same | 26 |
by the fact that | 26 |
under the direction of | 26 |
in spite of his | 26 |
of the sixteenth century | 26 |
of the opera house | 25 |
of one of the | 25 |
in the shape of | 25 |
in front of the | 25 |
the use of the | 25 |
the time of the | 25 |
to the fact that | 25 |
in the hands of | 25 |
i should like to | 24 |
in the first place | 24 |
the other side of | 24 |
the history of opera | 24 |
it seems to me | 24 |
the second act of | 24 |
it is impossible to | 23 |
a member of the | 23 |
the directors of the | 23 |
of the music of | 23 |
with the exception of | 23 |
the latter part of | 23 |
as if she were | 23 |
as if he had | 23 |
astor place opera house | 23 |
it is true that | 23 |
it is difficult to | 23 |
as well as the | 23 |
which was produced in | 22 |
at the conclusion of | 22 |
the astor place opera | 22 |
the manhattan opera house | 22 |
that he did not | 22 |
the success of the | 22 |
the manager of the | 22 |
into the hands of | 22 |
the director of the | 22 |
opera in new york | 21 |
it was impossible to | 21 |
of the lyric drama | 21 |
the first performance of | 21 |
as we have seen | 21 |
under the influence of | 21 |
of the new york | 21 |
in the eyes of | 20 |
so far as the | 20 |
the last act of | 20 |
on the occasion of | 20 |
the spirit of the | 20 |
the course of the | 20 |
there is not a | 20 |
the development of the | 20 |
in the habit of | 20 |
the members of the | 20 |
with a view to | 20 |
in the music of | 20 |
of tristan und isolde | 20 |
the back of the | 19 |
in the direction of | 19 |
the edge of the | 19 |
that it was not | 19 |
to the effect that | 19 |
i am going to | 19 |
as if she had | 19 |
she did not know | 19 |
of the academy of | 19 |
other side of the | 19 |
members of the company | 19 |
in the hope of | 19 |
a quarter of a | 19 |
the influence of the | 19 |
the sake of the | 19 |
in the spring of | 19 |
nothing to do with | 19 |
the hands of the | 19 |
as soon as he | 18 |
the vicomte de chagny | 18 |
of the royal italian | 18 |
came to new york | 18 |
in the autumn of | 18 |
the house on the | 18 |
out of the window | 18 |
house on the lake | 18 |
from beginning to end | 18 |
in the form of | 18 |
at the royal italian | 18 |
and some of the | 18 |
as one of the | 18 |
on the opening night | 18 |
in the part of | 18 |
on the night of | 17 |
be found in the | 17 |
the early part of | 17 |
and there was a | 17 |
of the italian opera | 17 |
a work of art | 17 |
the maid of pskov | 17 |
that there was no | 17 |
the dusk of the | 17 |
the action of the | 17 |
in the character of | 17 |
in the fourth act | 17 |
in connection with the | 17 |
after the production of | 17 |
the subject of the | 17 |
for a long time | 17 |
for the benefit of | 17 |
was not at all | 17 |
at the moment when | 17 |
in the style of | 17 |
does not seem to | 17 |
as well as in | 17 |
a part of the | 16 |
at the maryinsky theatre | 16 |
to do with it | 16 |
that she was not | 16 |
was by no means | 16 |
in a low voice | 16 |
on the one hand | 16 |
in the service of | 16 |
it must have been | 16 |
the manner in which | 16 |
and in a few | 16 |
of the fact that | 16 |
on the ground that | 16 |
of the opera is | 16 |
the private opera company | 16 |
much of the music | 16 |
of the opera was | 16 |
il barbiere di siviglia | 16 |
as if it were | 16 |
of the last act | 16 |
is not to be | 16 |
performed for the first | 16 |
dusk of the gods | 16 |
in one of the | 16 |
quarter of a century | 16 |
on to the stage | 16 |
put an end to | 16 |
the music of this | 16 |
if he had not | 16 |
to go to the | 16 |
for its own sake | 15 |
in the name of | 15 |
at the court of | 15 |
close of the season | 15 |
it would be a | 15 |
the cellars of the | 15 |
for the last time | 15 |
the scene is laid | 15 |
the author of the | 15 |
the history of russian | 15 |
that he was not | 15 |
to do with the | 15 |
to be able to | 15 |
the fact that it | 15 |
on account of the | 15 |
is by no means | 15 |
be said to have | 15 |
the service of the | 15 |
by one of the | 15 |
the fall of the | 15 |
as soon as the | 15 |
it was in the | 15 |
at the foot of | 15 |
and that he had | 15 |
the first time that | 15 |
of the music is | 15 |
it was not the | 15 |
la pietra del paragone | 15 |
in order that the | 15 |
the patrons of the | 15 |
a portion of the | 15 |
the corner of the | 15 |
on the evening of | 15 |
in the works of | 15 |
i and the missus | 15 |
the daughter of the | 15 |
at the age of | 15 |
that he had been | 15 |
that she had been | 15 |
a matter of course | 15 |
i do not think | 15 |
that it was a | 14 |
it is not a | 14 |
at the manhattan opera | 14 |
the meaning of the | 14 |
the nature of the | 14 |
at the head of | 14 |
was the work of | 14 |
and there was no | 14 |
one of the first | 14 |
out of the way | 14 |
the repertory of the | 14 |
that he was a | 14 |
the whole of my | 14 |
that it should be | 14 |
but it was not | 14 |
to the conclusion that | 14 |
of the present day | 14 |
un ballo in maschera | 14 |
royal italian opera company | 14 |
the production of the | 14 |
the third act of | 14 |
the stockholders of the | 14 |
opera first performance times | 14 |
but it is not | 14 |
under the title of | 14 |
with regard to the | 14 |
he was going to | 14 |
to have been a | 14 |
in keeping with the | 14 |
was the first to | 14 |
the eyes of the | 14 |
the remainder of the | 14 |
in the manner of | 14 |
was not until the | 14 |
to take part in | 14 |
history of russian opera | 14 |
in the season of | 14 |
in the matter of | 14 |
the greater part of | 14 |
at the expense of | 14 |
was a man of | 14 |
in a life for | 13 |
the composer of the | 13 |
what do you mean | 13 |
of the most popular | 13 |
the commissary of police | 13 |
the effect of the | 13 |
in some of the | 13 |
of the opera in | 13 |
there was not a | 13 |
at the present time | 13 |
was on the point | 13 |
it is to be | 13 |
the first of these | 13 |
in love with her | 13 |
may be said to | 13 |
at the bottom of | 13 |
people of new york | 13 |
in addition to the | 13 |
to say that he | 13 |
the scene in which | 13 |
night of the season | 13 |
metropolitan opera house on | 13 |
at one of the | 13 |
in which he had | 13 |
the first of the | 13 |
it is easy to | 13 |
in the minds of | 13 |
with the intention of | 13 |
cellars of the opera | 13 |
in the early part | 13 |
it is certain that | 13 |
the appearance of the | 13 |
the words of the | 13 |
opera at the metropolitan | 13 |
was performed for the | 13 |
i beg your pardon | 13 |
the attention of the | 13 |
to have been the | 13 |
so far as i | 13 |
about this time i | 13 |
as i have said | 13 |
to the end of | 12 |
i want you to | 12 |
close of the first | 12 |
in the world of | 12 |
of the work is | 12 |
that he would not | 12 |
told me that he | 12 |
it would not be | 12 |
take the trouble to | 12 |
the song of the | 12 |
in order to make | 12 |
latter part of the | 12 |
in the scene of | 12 |
the course of a | 12 |
from a photograph by | 12 |
went back to the | 12 |
the interior of the | 12 |
and it was only | 12 |
from the fact that | 12 |
sing the part of | 12 |
of a man who | 12 |
to get rid of | 12 |
the first part of | 12 |
the head of the | 12 |
is not easy to | 12 |
i do not know | 12 |
the form of a | 12 |
the bottom of the | 12 |
in the art of | 12 |
of some of the | 12 |
and it is not | 12 |
has nothing to do | 12 |
of the nature of | 12 |
the style of the | 12 |
to one of the | 12 |
that he could not | 12 |
on the day of | 12 |
the act ends with | 12 |
of the seventeenth century | 12 |
he was a man | 12 |
face to face with | 12 |
the foyer of the | 12 |
the th day of | 12 |
the barber of seville | 12 |
by the private opera | 12 |
there can be no | 12 |
it was the first | 12 |
the first time at | 12 |
if she had not | 12 |
as that of the | 12 |
not seem to have | 12 |
as if they were | 12 |
by the side of | 12 |
that he had a | 12 |
and one of the | 12 |
that it might be | 11 |
but he did not | 11 |
two or three times | 11 |
musical critic of the | 11 |
on the grand tier | 11 |
under the management of | 11 |
that there is no | 11 |
the details of the | 11 |
the queen of spades | 11 |
the banks of the | 11 |
was at that time | 11 |
did not wish to | 11 |
the hero of the | 11 |
the midst of the | 11 |
for the production of | 11 |
is said to have | 11 |
this was followed by | 11 |
woman of the world | 11 |
the works of the | 11 |
the sound of the | 11 |
in spite of herself | 11 |
he seems to have | 11 |
me that he had | 11 |
in the eighteenth century | 11 |
jongleur de notre dame | 11 |
he did not know | 11 |
had been in the | 11 |
the commencement of the | 11 |
would not have been | 11 |
had the honour of | 11 |
the brothers de reszke | 11 |
at the moment of | 11 |
in the development of | 11 |
the shape of a | 11 |
season at the metropolitan | 11 |
of italian opera in | 11 |
said to have been | 11 |
the first scene of | 11 |
the life of the | 11 |
in the time of | 11 |
for the season of | 11 |
of which he was | 11 |
about this time the | 11 |
of the queen of | 11 |
of the fifteenth century | 11 |
it is in the | 11 |
i tell you that | 11 |
crispino e la comare | 11 |
the house was crowded | 11 |
in the next act | 11 |
the composition of the | 11 |
that she did not | 11 |
the direction of the | 11 |
at a salary of | 11 |
the excellence of the | 11 |
the people of new | 11 |
under the name of | 11 |
a few years ago | 11 |
i was obliged to | 11 |
of a life for | 11 |
the history of music | 11 |
the night of the | 11 |
with some of the | 11 |
directors of the metropolitan | 11 |
had nothing to do | 11 |
of the rhine gold | 11 |
was produced at the | 11 |
the foot of the | 11 |
the floor of the | 11 |
the depths of the | 11 |
the shadow of the | 11 |
the opera ends with | 11 |
le nozze di figaro | 11 |
at the hands of | 11 |
the finale of the | 11 |
was one of those | 11 |
and that he was | 11 |
at the back of | 11 |
scene is laid in | 11 |
she was sure that | 11 |
it would be difficult | 11 |
for the use of | 11 |
and she did not | 11 |
but she did not | 11 |
it has been said | 11 |
it is not easy | 11 |
in front of him | 11 |
there is no reason | 11 |
his treatment of the | 11 |
in one of his | 11 |
made up his mind | 11 |
a few of the | 11 |
of the opera ghost | 11 |
of the king of | 11 |
seems to me that | 10 |
for the rest of | 10 |
and that it was | 10 |
for a few minutes | 10 |
about the middle of | 10 |
that there was nothing | 10 |
the importance of the | 10 |
she felt that she | 10 |
who had come to | 10 |
on his way to | 10 |
would have been a | 10 |
there would have been | 10 |
he did not even | 10 |
so far as to | 10 |
foyer of the ballet | 10 |
as if nothing had | 10 |
the evening of the | 10 |
and the fact that | 10 |
that it is a | 10 |
if he had been | 10 |
and most of the | 10 |
was followed by a | 10 |
the attitude of the | 10 |
he was one of | 10 |
the melody of the | 10 |
to a certain extent | 10 |
some two or three | 10 |
the date of the | 10 |
the idea of the | 10 |
the italian and french | 10 |
before the end of | 10 |
in a position to | 10 |
my london season of | 10 |
as far as possible | 10 |
the occupants of the | 10 |
from head to foot | 10 |
and in spite of | 10 |
as soon as it | 10 |
was supposed to be | 10 |
to be in the | 10 |
the maid of orleans | 10 |
before the close of | 10 |
until the end of | 10 |
other members of the | 10 |
at the time when | 10 |
if nothing had happened | 10 |
the traditions of the | 10 |
ring of the nibelung | 10 |
at the request of | 10 |
the first time on | 10 |
to sing the part | 10 |
from first to last | 10 |
of night falls on | 10 |
the end of a | 10 |
in order to get | 10 |
with a sort of | 10 |
to the production of | 10 |
did not know that | 10 |
that he is not | 10 |
it for granted that | 10 |
some three or four | 10 |
could not fail to | 10 |
quarter of an hour | 10 |
metropolitan opera house in | 10 |
there is no one | 10 |
the taste of the | 10 |
the hands of a | 10 |
that he had not | 10 |
by reason of the | 10 |
in a state of | 10 |
the performance of the | 10 |
with the help of | 10 |
is to be found | 10 |
it must be admitted | 10 |
the story of his | 10 |
is no reason why | 10 |
for a few moments | 10 |
have been able to | 10 |
of the history of | 10 |
to go through the | 10 |
in a fit of | 10 |
as a means of | 10 |
the legend of the | 10 |
in view of the | 10 |
the same time the | 10 |
greater part of the | 10 |
to say that the | 10 |
to the accompaniment of | 10 |
i have never seen | 10 |
first half of the | 10 |
one of the finest | 10 |
he would have been | 10 |
the production of his | 10 |
the work of a | 10 |
if it had been | 10 |
that it is not | 10 |
he had not been | 10 |
of music in the | 10 |
the metropolitan opera company | 10 |
out of the question | 10 |
the end of his | 10 |
the ring of the | 10 |
the prince of wales | 10 |
in the present day | 10 |
looked at each other | 10 |
in the field of | 10 |
for a season of | 10 |
at the door of | 10 |
felt that she was | 10 |
of the imperial opera | 10 |
both sides of the | 10 |
it is not the | 10 |
would be difficult to | 10 |
is a work of | 10 |
he told me that | 10 |
at the rate of | 10 |
was to be a | 10 |
in the days of | 10 |
by the entrance of | 10 |
in so far as | 10 |
that he would have | 9 |
in a great measure | 9 |
come down to us | 9 |
the fact that he | 9 |
it is interesting to | 9 |
on the stage at | 9 |
as has already been | 9 |
fact that it was | 9 |
in favour of the | 9 |
by the aid of | 9 |
as if i were | 9 |
the key of the | 9 |
he was in the | 9 |
metropolitan opera house was | 9 |
the art of the | 9 |
on the second night | 9 |
the body of the | 9 |
seem to have been | 9 |
in common with the | 9 |
it is hard to | 9 |
the opening scene of | 9 |
it was to be | 9 |
to take care of | 9 |
over and over again | 9 |
one of the best | 9 |
that it had been | 9 |
it is not surprising | 9 |
i thought it was | 9 |
in the fifteenth century | 9 |
at the very moment | 9 |
he was able to | 9 |
on both sides of | 9 |
from floor to ceiling | 9 |
and the opera ends | 9 |
that it was the | 9 |
the first and second | 9 |
that she could not | 9 |
in the repertory of | 9 |
tells the story of | 9 |
first performance of the | 9 |
the interest of the | 9 |
the count di luna | 9 |
in the score of | 9 |
held out her hand | 9 |
the rising of the | 9 |
on her way to | 9 |
when it was first | 9 |
to the commencement of | 9 |
end of the season | 9 |
it may be that | 9 |
at the present day | 9 |
mean to say that | 9 |
rosy hours of mazenderan | 9 |
in the same way | 9 |
who had been a | 9 |
in order to give | 9 |
the spirit in which | 9 |
in order that i | 9 |
but it is a | 9 |
in the third cellar | 9 |
takes place in the | 9 |
academy of music in | 9 |
a man who has | 9 |
the new york season | 9 |
in a few minutes | 9 |
but there is no | 9 |
the second act is | 9 |
from the time of | 9 |
with which he had | 9 |
to look at the | 9 |
opera on the subject | 9 |
to carry her off | 9 |
the death of the | 9 |
as soon as she | 9 |
to new york in | 9 |
one of his most | 9 |
a few years later | 9 |
the aid of the | 9 |
it would be better | 9 |
there was a little | 9 |
you mean to say | 9 |
sense of the word | 9 |
portion of the audience | 9 |
it is full of | 9 |
to the extent of | 9 |
to get out of | 9 |
on the morning of | 9 |
the scene in the | 9 |
at the turkish embassy | 9 |
what do you think | 9 |
the soul of the | 9 |
did not occur to | 9 |
there was no reason | 9 |
the roi de lahore | 9 |
it is said that | 9 |
the imperial opera house | 9 |
we find in the | 9 |
the walls of the | 9 |
as we have already | 9 |
in due course the | 9 |
if she had been | 9 |
different from that of | 9 |
all intents and purposes | 9 |
began on november th | 9 |
from that of the | 9 |
she was going to | 9 |
the duke of edinburgh | 9 |
a whole series of | 9 |
in the person of | 9 |
in a series of | 9 |
said that he was | 9 |
and it was a | 9 |
there had been a | 9 |
has been said that | 9 |
up his mind to | 9 |
the leader of the | 9 |
was a good deal | 9 |
some idea of the | 9 |
with a performance of | 9 |
in a letter to | 9 |
a certain amount of | 9 |
should like to know | 9 |
on the stage and | 9 |
that part of the | 9 |
the arrival of the | 9 |
was in love with | 9 |
made the acquaintance of | 9 |
the production of a | 9 |
been a member of | 9 |
close of the opera | 9 |
scene from the roi | 9 |
season of italian opera | 9 |
in accordance with the | 9 |
the voice of the | 9 |
raoul and the persian | 9 |
at the level of | 9 |
that there was a | 9 |
was to have been | 9 |
on the verge of | 9 |
by means of a | 9 |
if i did not | 9 |
one of the great | 9 |
in a sort of | 9 |
is interrupted by the | 9 |
in the next room | 9 |
no one in the | 9 |
there was no one | 9 |
of the composer of | 9 |
by reason of its | 9 |
as a work of | 9 |
we have already seen | 9 |
and that he would | 9 |
in which it is | 9 |
the way in which | 9 |
took place in the | 9 |
to me that the | 9 |
all the rest of | 9 |
an account of the | 9 |
the very moment when | 9 |
from the roi de | 9 |
to all intents and | 9 |
it was found that | 9 |
falls in love with | 9 |
and he was not | 9 |
the first half of | 9 |
the rosy hours of | 9 |
the threshold of the | 9 |
the failure of the | 9 |
the expression of the | 9 |
to the prima donna | 8 |
in the following year | 8 |
new york in the | 8 |
the names of the | 8 |
box five on the | 8 |
little more than a | 8 |
did not care to | 8 |
of the same kind | 8 |
five on the grand | 8 |
the world of music | 8 |
was looked upon as | 8 |
was performed at the | 8 |
on the death of | 8 |
the patriarch of constantinople | 8 |
but he could not | 8 |
that in spite of | 8 |
which he did not | 8 |
it used to be | 8 |
crowded from floor to | 8 |
the benefit of the | 8 |
was in the habit | 8 |
part of the work | 8 |
that there is a | 8 |
the first time i | 8 |
to believe that the | 8 |
of no use to | 8 |
and many of the | 8 |
in the opera of | 8 |
le jongleur de notre | 8 |
the royal academy of | 8 |
was no reason why | 8 |
to give up the | 8 |
the fact that she | 8 |
the manner of the | 8 |
a night in may | 8 |
as a composer of | 8 |
with which it is | 8 |
not in the least | 8 |
the london season of | 8 |
is due to the | 8 |
in new york on | 8 |
royal academy of music | 8 |
as if it had | 8 |
though he did not | 8 |
the case of the | 8 |
since the days of | 8 |
to listen to the | 8 |
he was in love | 8 |
what he had said | 8 |
so that it was | 8 |
to tell the truth | 8 |
in the face of | 8 |
the dance of the | 8 |
opening of the doors | 8 |
the arms of the | 8 |
it did not occur | 8 |
prior to the commencement | 8 |
the front of the | 8 |
in the operas of | 8 |
on each side of | 8 |
by a number of | 8 |
the events of the | 8 |
the comte de chagny | 8 |
the doors of the | 8 |
and it is a | 8 |
there was nothing to | 8 |
get out of the | 8 |
with the assistance of | 8 |
so as not to | 8 |
attention to the fact | 8 |
may be called the | 8 |
at the last moment | 8 |
as long as you | 8 |
a quarter of an | 8 |
the midst of a | 8 |
at the opera house | 8 |
which was to be | 8 |
than that of the | 8 |
to me to be | 8 |
she knew that she | 8 |
the orchestra of the | 8 |
in a few moments | 8 |
of the city of | 8 |
the truth is that | 8 |
is a matter of | 8 |
the point of view | 8 |
just in time to | 8 |
its place in the | 8 |
of the art of | 8 |
which might have been | 8 |
in a manner which | 8 |
musical point of view | 8 |
in a low tone | 8 |
the hearts of the | 8 |
the form of the | 8 |
and looked at her | 8 |
as well as i | 8 |
given for the first | 8 |
not been able to | 8 |
but he had not | 8 |
took place at the | 8 |
something to do with | 8 |
in his treatment of | 8 |
to believe that he | 8 |
the day of the | 8 |
in the cellars of | 8 |
there was to be | 8 |
years of his life | 8 |
explained to me that | 8 |
was quite sure that | 8 |
the place of the | 8 |
as much as i | 8 |
the construction of the | 8 |
of the prima donna | 8 |
did not mean to | 8 |
merry wives of windsor | 8 |
in the first scene | 8 |
the last of the | 8 |
a certain number of | 8 |
by the author of | 8 |
far as i know | 8 |
was not to be | 8 |
was given for the | 8 |
within the scope of | 8 |
to come to the | 8 |
academy of music and | 8 |
of the stone guest | 8 |
in the first instance | 8 |
towards the close of | 8 |
fall in love with | 8 |
saw that he was | 8 |
did not seem to | 8 |
there is some one | 8 |
in the story of | 8 |
the opera in the | 8 |
there is very little | 8 |
of ivan the terrible | 8 |
of the rosy hours | 8 |
towards the end of | 8 |
appears to have been | 8 |
nothing of the kind | 8 |
are to be found | 8 |
by means of the | 8 |
the earl of dudley | 8 |
scene in which the | 8 |
what may be called | 8 |
will have to be | 8 |
saw that it was | 8 |
order that i might | 8 |
was called upon to | 8 |
the second act the | 8 |
of the orthodox church | 8 |
in such a way | 8 |
it is not necessary | 8 |
and the act ends | 8 |
as far as i | 8 |
by the light of | 8 |
might have been expected | 8 |
it was clear that | 8 |
history of opera in | 8 |
in the prison scene | 8 |
story of the opera | 8 |
the same time to | 8 |
after the first act | 8 |
the second night of | 8 |
the fourth act of | 8 |
she turned her head | 8 |
a large part of | 8 |
so much the better | 8 |
the new metropolitan opera | 8 |
as well as to | 8 |
from the pen of | 8 |
it is possible to | 8 |
an opera on the | 8 |
on the back of | 8 |
may be found in | 8 |
of the flying dutchman | 8 |
half of the nineteenth | 8 |
to the rest of | 8 |
director of the opera | 8 |
it seemed as if | 8 |
that he is the | 8 |
as a kind of | 8 |
in the words of | 8 |
was a member of | 8 |
the tale of the | 8 |
when he came to | 8 |
it was easy to | 8 |
there seems to be | 8 |
in the summer of | 8 |
the son of a | 8 |
to think that he | 8 |
and i had to | 8 |
the work of the | 8 |
in the expression of | 8 |
the side of the | 8 |
to do but to | 8 |
in the seventeenth century | 8 |
to be regarded as | 8 |
the secret of the | 8 |
as soon as i | 8 |
held out his hand | 8 |
on the edge of | 8 |
a great part of | 8 |
of the season was | 8 |
the management of the | 8 |
there is only one | 8 |
of life and death | 8 |
go down to the | 8 |
i says to the | 8 |
and i do not | 8 |
the invention of the | 8 |
the queen of night | 8 |
that she had not | 8 |
when he was in | 8 |
heard in new york | 8 |
with that of the | 8 |
the final scene of | 8 |
of the astor place | 7 |
in the open air | 7 |
to enable him to | 7 |
late in the afternoon | 7 |
on the th december | 7 |
he was unable to | 7 |
but it would be | 7 |
do you think i | 7 |
there are passages in | 7 |
to the history of | 7 |
it has already been | 7 |
to the study of | 7 |
it was on the | 7 |
brought to new york | 7 |
of the story of | 7 |
and the whole of | 7 |
he was on the | 7 |
van torp did not | 7 |
and it would be | 7 |
at the imperial opera | 7 |
the fact that in | 7 |
the closing years of | 7 |
the surface of the | 7 |
for which he had | 7 |
cast was as follows | 7 |
had not yet been | 7 |
some of the most | 7 |
in the new york | 7 |
to say that it | 7 |
at the top of | 7 |
of a series of | 7 |
took part in the | 7 |
on the lyric stage | 7 |
fall of the curtain | 7 |
so far as it | 7 |
would be hard to | 7 |
when he was a | 7 |
they were in the | 7 |
there was something in | 7 |
that the prima donna | 7 |
in the stone guest | 7 |
of the fifteenth and | 7 |
the departure of the | 7 |
the last act is | 7 |
it must be remembered | 7 |
the services of the | 7 |
the influence of wagner | 7 |
le vicomte de chagny | 7 |
of the most beautiful | 7 |
there is nothing in | 7 |
it might have been | 7 |
the man who had | 7 |
they looked at each | 7 |
first appearance in england | 7 |
was that of the | 7 |
it would be very | 7 |
the people of the | 7 |
as much as possible | 7 |
large sum of money | 7 |
in which i was | 7 |
season at the academy | 7 |
and the music of | 7 |
of which it is | 7 |
of the madrigal drama | 7 |
to the opening of | 7 |
so long as it | 7 |
in spite of all | 7 |
for a few seconds | 7 |
the operas of the | 7 |
i have said that | 7 |
taming of the shrew | 7 |
by a series of | 7 |
in a moment of | 7 |
was given at the | 7 |
she had not been | 7 |
with the following cast | 7 |
that sort of thing | 7 |
which we find in | 7 |
the exception of the | 7 |
the founder of the | 7 |
had the effect of | 7 |
the will to live | 7 |
the last thirty years | 7 |
it is a matter | 7 |
of the old school | 7 |
lady maud did not | 7 |
during the latter part | 7 |
of opera in the | 7 |
in the depths of | 7 |
much of it is | 7 |
first scene of the | 7 |
and some of them | 7 |
of the music and | 7 |
the beauty of the | 7 |
the music of a | 7 |
it was not a | 7 |
parts of the work | 7 |
for a moment to | 7 |
work as a whole | 7 |
of the human voice | 7 |
scene of the opera | 7 |
bad for the voice | 7 |
the help of the | 7 |
the title of the | 7 |
it could not be | 7 |
from the beginning of | 7 |
i at the same | 7 |
the return of the | 7 |
once more to the | 7 |
the court of mantua | 7 |
of the romantic school | 7 |
in the event of | 7 |
must be admitted that | 7 |
the thought of the | 7 |
of the rest of | 7 |
the face of the | 7 |
in the middle ages | 7 |
and he did not | 7 |
on the text and | 7 |
in love with the | 7 |
weeks of the season | 7 |
as margherita in faust | 7 |
it was true that | 7 |
the new york public | 7 |
she said at last | 7 |
of the season of | 7 |
the opera was produced | 7 |
on one of the | 7 |
and looked at him | 7 |
rising of the curtain | 7 |
return to new york | 7 |
the motive of the | 7 |
of the san carlo | 7 |
had its first performance | 7 |
and there is no | 7 |
the language of the | 7 |
i have already said | 7 |
as well as a | 7 |
could not have been | 7 |
turned out to be | 7 |
of the death of | 7 |
that she was a | 7 |
in which he was | 7 |
which can only be | 7 |
in order that he | 7 |
part of the audience | 7 |
the whole story of | 7 |
a very short time | 7 |
going on the stage | 7 |
there is a good | 7 |
the level of the | 7 |
to carry out the | 7 |
in the use of | 7 |
of many of the | 7 |
of the story is | 7 |
one of the greatest | 7 |
i shall never forget | 7 |
reason to believe that | 7 |
the way to the | 7 |
found it necessary to | 7 |
came to an end | 7 |
is not surprising that | 7 |
nothing to say to | 7 |
act takes place in | 7 |
at a time when | 7 |
part of the opera | 7 |
thing in the world | 7 |
the stage of the | 7 |
did not know what | 7 |
it was as though | 7 |
it would not have | 7 |
it may have been | 7 |
that i had to | 7 |
to write an opera | 7 |
to any one who | 7 |
on the stage in | 7 |
as if they had | 7 |
there was no doubt | 7 |
when we come to | 7 |
by the production of | 7 |
and it was with | 7 |
to the memory of | 7 |
was the first time | 7 |
she looked at him | 7 |
early part of the | 7 |
that it did not | 7 |
at the feet of | 7 |
the heads of the | 7 |
in the academy of | 7 |
is a man of | 7 |
one of the very | 7 |
in regard to the | 7 |
house in new york | 7 |
ten thousand a year | 7 |
director of the imperial | 7 |
brought up in the | 7 |
there is nothing to | 7 |
had something to do | 7 |
say that i am | 7 |
the last scene of | 7 |
after the manner of | 7 |
was not quite sure | 7 |
she held out her | 7 |
to the rank of | 7 |
what he was doing | 7 |
she was a little | 7 |
the early years of | 7 |
in the beginning of | 7 |
the brilliancy of the | 7 |
was performed in london | 7 |
the maryinsky theatre in | 7 |
he was born in | 7 |
and the rest of | 7 |
be accounted for by | 7 |
of the man who | 7 |
as time went on | 7 |
when she came to | 7 |
the light of the | 7 |
and it is the | 7 |
would be better to | 7 |
in spite of its | 7 |
not know that he | 7 |
one and the same | 7 |
success of the opera | 7 |
that he was going | 7 |
he had been a | 7 |
i had to pay | 7 |
in the streets of | 7 |
of the production of | 7 |
was so great that | 7 |
taken the trouble to | 7 |
much to do with | 7 |
been heard in new | 7 |
seemed to have been | 7 |
with the aid of | 7 |
out to be a | 7 |
sides of the atlantic | 7 |
but there is a | 7 |
it must not be | 7 |
manner in which he | 7 |
scene of the third | 7 |
leaned back in her | 7 |
the worst of it | 7 |
of the love of | 7 |
the termination of the | 7 |
looked out of the | 7 |
close of the performance | 7 |
to the level of | 7 |
he seemed to have | 7 |
if they had been | 7 |
the corps de ballet | 7 |
little madame de rosa | 7 |
of the school of | 7 |
at the thought of | 7 |
of the members of | 7 |
the new opera house | 7 |
for a period of | 7 |
in the opposite direction | 7 |
of opera in new | 7 |
side by side with | 7 |
turns out to be | 7 |
italian opera at the | 7 |
i was informed that | 7 |
and looked at his | 7 |
but he was not | 7 |
as we shall see | 7 |
on the threshold of | 7 |
in the principal parts | 7 |
one of the few | 7 |
in the last scene | 7 |
first act of the | 7 |
at the san carlo | 7 |
in the foyer of | 7 |
there is scarcely a | 7 |
sat down on the | 7 |
in the fact that | 7 |
private opera company at | 7 |
the secretary of the | 7 |
stockholders of the academy | 7 |
at the sound of | 7 |
on the th of | 7 |
as in the case | 7 |
was brought out at | 7 |
the very essence of | 7 |
the stage at the | 7 |
the rest of it | 7 |
the scene at the | 7 |
tell the story of | 6 |
he had been in | 6 |
there will always be | 6 |
the new york academy | 6 |
of the state of | 6 |
only one of the | 6 |
and as it was | 6 |
with the prima donna | 6 |
was out of sight | 6 |
in the hearts of | 6 |
eyes fixed on the | 6 |
the presence of a | 6 |
captive in the caucasus | 6 |
at the root of | 6 |
effected her entrance on | 6 |
in honour of the | 6 |
il turco in italia | 6 |
de duchi de cirella | 6 |
produced by the private | 6 |
two or three weeks | 6 |
but she was a | 6 |
the board of directors | 6 |
in the nature of | 6 |
the prima donna of | 6 |
we have seen that | 6 |
looked at his watch | 6 |
gonzaga de duchi de | 6 |
that they were not | 6 |
a great deal more | 6 |
not go to the | 6 |
there could be no | 6 |
opera and real estate | 6 |
there was a great | 6 |
after the opening of | 6 |
the making of a | 6 |
as the composer of | 6 |
the disappearance of the | 6 |
the direction of mr | 6 |
not the first time | 6 |
out of the house | 6 |
the first time since | 6 |
at the prospect of | 6 |
to do justice to | 6 |
the libretto is a | 6 |
that he has not | 6 |
each side of the | 6 |
in the highest degree | 6 |
about this time a | 6 |
the strength of the | 6 |
if he did not | 6 |
the applause of the | 6 |
told me that she | 6 |
of the ring is | 6 |
the work at the | 6 |
with a degree of | 6 |
the roof of the | 6 |
character of the music | 6 |
of the season i | 6 |
in the same year | 6 |
be unable to appear | 6 |
with the idea of | 6 |
anything to do with | 6 |
going to be a | 6 |
is based upon a | 6 |
in the spirit of | 6 |
a man who is | 6 |
a score of years | 6 |
conceived the idea of | 6 |
a performance of the | 6 |
observations on the text | 6 |
alfonso catalano gonzaga de | 6 |
in new york and | 6 |
on the operatic stage | 6 |
catalano gonzaga de duchi | 6 |
she came to the | 6 |
she had seen him | 6 |
of the first scene | 6 |
the time of his | 6 |
to be at the | 6 |
his eyes on the | 6 |
it was with the | 6 |
on the bank of | 6 |
it would be useless | 6 |
about the same time | 6 |
margaret looked at him | 6 |
we were going to | 6 |
the receipts for the | 6 |
she told me that | 6 |
the first performance took | 6 |
the methods of the | 6 |
history of russian music | 6 |
was to take place | 6 |
of the first performance | 6 |
attracted the attention of | 6 |
he held out his | 6 |
of the first order | 6 |
in the hope that | 6 |
way out of the | 6 |
arrival in new york | 6 |
the more or less | 6 |
the minister of fine | 6 |
the success of his | 6 |
seems to be the | 6 |
it is necessary to | 6 |
be said to be | 6 |
in his later works | 6 |
without so much as | 6 |
been one of the | 6 |
there is no such | 6 |
the day after the | 6 |
the son of the | 6 |
the moment when the | 6 |
the plot of the | 6 |
do you know that | 6 |
the text and music | 6 |
the spectacle of a | 6 |
all of a sudden | 6 |
the same as that | 6 |
for the time being | 6 |
the door of her | 6 |
by the use of | 6 |
early the following morning | 6 |
and there was the | 6 |
in the affections of | 6 |
of the angel of | 6 |
the loss of his | 6 |
take part in the | 6 |
in order to keep | 6 |
i will tell you | 6 |
of the scene in | 6 |
it is founded upon | 6 |
the fires of loki | 6 |
are not to be | 6 |
he came to new | 6 |
is laid in a | 6 |
the hall of the | 6 |
members of my company | 6 |
and seemed to be | 6 |
private opera company in | 6 |
in the world to | 6 |
the genius of the | 6 |
that he was very | 6 |
the paris opera house | 6 |
the fact that there | 6 |
the length of the | 6 |
opera in the united | 6 |
nowhere to be found | 6 |
the third act the | 6 |
the other members of | 6 |
and it was the | 6 |
received a telegram from | 6 |
when the house was | 6 |
to my great astonishment | 6 |
it would be hard | 6 |
it would be impossible | 6 |
in their own country | 6 |
as much as the | 6 |
all the way from | 6 |
it is probable that | 6 |
of the influence of | 6 |
of the most important | 6 |
of the first representation | 6 |
to such an extent | 6 |
the days of the | 6 |
come to new york | 6 |
the absence of the | 6 |
the concerts of the | 6 |
at the sight of | 6 |
of the philharmonic society | 6 |
i went to the | 6 |
was the son of | 6 |
been brought up in | 6 |
throughout the whole of | 6 |
the memory of the | 6 |
that she was in | 6 |
and looked at the | 6 |
would be unable to | 6 |
in the first season | 6 |
as soon as possible | 6 |
for a moment that | 6 |
the first appearance of | 6 |
out into the world | 6 |
he is about to | 6 |
of a century ago | 6 |
in order to have | 6 |
the growth of the | 6 |
the destruction of the | 6 |
vicomte raoul de chagny | 6 |
who do not know | 6 |
of the works of | 6 |
on their way to | 6 |
and that is the | 6 |
was a sort of | 6 |
as it was in | 6 |
of italian opera at | 6 |
on the eve of | 6 |
in the second scene | 6 |
the top of his | 6 |
with the whole of | 6 |
he seemed to be | 6 |
have a right to | 6 |
county of san francisco | 6 |
performance took place on | 6 |
there would be no | 6 |
in order to be | 6 |
at covent garden in | 6 |
the building of the | 6 |
in new york in | 6 |
which she was to | 6 |
way in which the | 6 |
to those who have | 6 |
give me back my | 6 |
under the impression that | 6 |
of a national opera | 6 |
which took place on | 6 |
and the music is | 6 |
those who have not | 6 |
to go into the | 6 |
to put up with | 6 |
was at an end | 6 |
but there was no | 6 |
the home of the | 6 |
of the grand opera | 6 |
and in due course | 6 |
in the opinion of | 6 |
the people in the | 6 |
as there was no | 6 |
the morning of the | 6 |
the steps of the | 6 |
does not mean that | 6 |
subject of the opera | 6 |
i do not mean | 6 |
to make up for | 6 |
the present state of | 6 |
he replied that he | 6 |
did not look at | 6 |
the story of a | 6 |
resist the temptation to | 6 |
through the medium of | 6 |
treatment of the orchestra | 6 |
th day of february | 6 |
point of view of | 6 |
he was not a | 6 |
to new york and | 6 |
in the absence of | 6 |
the work as a | 6 |
it will be found | 6 |
be looked upon as | 6 |
to the door of | 6 |
and she sat down | 6 |
for the fact that | 6 |
one of the singers | 6 |
with the story of | 6 |
in the sense that | 6 |
the second act begins | 6 |
two or three years | 6 |
he was not the | 6 |
in order to avoid | 6 |
and in the end | 6 |
soon as he was | 6 |
on the steps of | 6 |
the prices of admission | 6 |
i told him that | 6 |
and i could not | 6 |
in his earlier works | 6 |
the essence of the | 6 |
her way to the | 6 |
it was a little | 6 |
after the second act | 6 |
act of la traviata | 6 |
closing years of the | 6 |
not one of them | 6 |
house was crowded from | 6 |
that i had been | 6 |
the library of the | 6 |
to the delight of | 6 |
that she had a | 6 |
opera house in new | 6 |
patrons of the metropolitan | 6 |
in the annals of | 6 |
that she was going | 6 |
the fate of the | 6 |
as it is to | 6 |
sure that she was | 6 |
there would be a | 6 |
great deal of the | 6 |
to a great extent | 6 |
sprang to her feet | 6 |
may say what you | 6 |
interrupted by the entrance | 6 |
an echo of the | 6 |
the lips of the | 6 |
will be able to | 6 |
the climax of the | 6 |
of the maid of | 6 |
the heart of the | 6 |
she seemed to be | 6 |
in the memory of | 6 |
the rest of his | 6 |
i was enabled to | 6 |
heard in the distance | 6 |
eyes for a moment | 6 |
to appear at the | 6 |
that of any other | 6 |
that she is the | 6 |
at the astor place | 6 |
by the appearance of | 6 |
in the latter part | 6 |
on the conclusion of | 6 |
i should have been | 6 |
he was very much | 6 |
and left the room | 6 |
the impression that he | 6 |
the top of her | 6 |
that they did not | 6 |
of which we have | 6 |
which she did not | 6 |
the result of the | 6 |
first performance times given | 6 |
of the same year | 6 |
in time for the | 6 |
the back of his | 6 |
a copy of the | 6 |
it is one of | 6 |
scene of the second | 6 |
at that time the | 6 |
be called upon to | 6 |
come to an end | 6 |
an end to his | 6 |
critic of the new | 6 |
in the pages of | 6 |
one in the room | 6 |
there is no doubt | 6 |
by which they are | 6 |
as i have already | 6 |
opera company at moscow | 6 |
in the second place | 6 |
to the taste of | 6 |
before the opening of | 6 |
back of the stage | 6 |
de chagny and i | 6 |
the carl rosa company | 6 |
his first appearance in | 6 |
the new russian school | 6 |
in the following words | 6 |
becoming more and more | 6 |
in which they were | 6 |
at the risk of | 6 |
and all the rest | 6 |
metropolitan opera and real | 6 |
by no means the | 6 |
of the court opera | 6 |
out in the kitchen | 6 |
act of the opera | 6 |
it seemed to me | 6 |
to the music of | 6 |
the incident of the | 6 |
with the rest of | 6 |
the introduction of the | 6 |
he would not have | 6 |
and the brothers de | 6 |
that he was in | 6 |
and for the first | 6 |
that he had the | 6 |
that i should have | 6 |
the sound of his | 6 |
it would be more | 6 |
the italian opera house | 6 |
in a way that | 6 |
the music allotted to | 6 |
in which she was | 6 |
the occasion of the | 6 |
of the man in | 6 |
if i had not | 6 |
at that time in | 6 |
into a state of | 6 |
the light of day | 6 |
she had made a | 6 |
i am sure that | 6 |
the lyric drama of | 6 |
was made up of | 6 |
of what he had | 6 |
it is evident that | 6 |
i have never been | 6 |
is heard in the | 6 |
to be the only | 6 |
a vast amount of | 6 |
the same time a | 6 |
at the present moment | 6 |
london and new york | 6 |
of the middle ages | 6 |
first performance took place | 6 |
at the disposal of | 6 |
the creation of a | 6 |
on the banks of | 6 |
it would seem that | 6 |
of the italian school | 6 |
the eyes of a | 6 |
on his knees before | 6 |
if she did not | 6 |
by the carl rosa | 6 |
and a good deal | 6 |
of the best of | 6 |
and i am not | 6 |
to put an end | 6 |
it was a great | 6 |
which is to be | 6 |
i had the honour | 6 |
hall of the gibichungs | 6 |
and that she was | 6 |
he is not a | 6 |
season at covent garden | 6 |
is no one there | 6 |
use of the voice | 6 |
a large number of | 6 |
but i want to | 6 |
with the greatest possible | 6 |
to the middle of | 6 |
after the conclusion of | 6 |
the fact that his | 6 |
and there is a | 6 |
it is the same | 6 |
is in love with | 6 |
cricket on the hearth | 6 |
may be said of | 6 |
the first act was | 6 |
and one or two | 6 |
is a good deal | 6 |
the whole of this | 6 |
in which the whole | 6 |
he had never seen | 6 |
this is not the | 6 |
the king of the | 6 |
in the preceding season | 6 |
for the privilege of | 6 |
but on the whole | 6 |
for a little while | 6 |
at the same moment | 6 |
but it does not | 6 |
in the library of | 6 |
had much to do | 6 |
i was in the | 6 |
minister of fine arts | 6 |
the affections of the | 6 |
the foundation of the | 6 |
what kind of a | 6 |
but they do not | 6 |
and in the course | 6 |
and the sound of | 6 |
in the opening scene | 6 |
was going to be | 6 |
of the human race | 6 |
as soon as they | 6 |
his way to the | 6 |
in spite of their | 6 |
to go down to | 6 |
in which it was | 6 |
that he must be | 6 |
to the sound of | 6 |
found its way to | 6 |
first time at the | 6 |
to the operatic stage | 6 |
it was here that | 6 |
would certainly not have | 6 |
did not think it | 6 |
him to return to | 6 |
of the chicago opera | 6 |
has already been mentioned | 6 |
in order to show | 6 |
and real estate company | 6 |
the representatives of the | 6 |
to return to the | 6 |
the end of this | 6 |
be regarded as a | 6 |
looked upon as a | 6 |
than that of any | 6 |
had been heard in | 6 |
for the next season | 6 |
to go back to | 6 |
was more or less | 6 |
was late in the | 6 |
made her first appearance | 6 |
to those who are | 6 |
it was no longer | 6 |
that if he had | 6 |
the opera is a | 6 |
it will be remembered | 6 |
said that he had | 6 |
the last few years | 6 |
the power of the | 6 |
may have had something | 5 |
of the concerts of | 5 |
one of the concerts | 5 |
to look at it | 5 |
the fact that a | 5 |
soon as it was | 5 |
there was not the | 5 |
the subject of a | 5 |
a moment later she | 5 |
prior to the opening | 5 |
the dramatic element in | 5 |
that it would not | 5 |
it had been announced | 5 |
were at that time | 5 |
there is no other | 5 |
to new york by | 5 |
the first act is | 5 |
which had to be | 5 |
some of the singers | 5 |
the period of the | 5 |
of the first part | 5 |
had charge of the | 5 |
it must be a | 5 |
translated from the french | 5 |
close of the sixteenth | 5 |
man in the world | 5 |
action of the piece | 5 |
on the floor of | 5 |
with a sense of | 5 |
took place on the | 5 |
the regular subscription season | 5 |
and is about to | 5 |
up and down the | 5 |
that it would have | 5 |
part of the heroine | 5 |
it is obvious that | 5 |
it is a fact | 5 |
ought not to be | 5 |
the existence of a | 5 |
will be found in | 5 |
meeting of the lovers | 5 |
produced in paris in | 5 |
there is to be | 5 |
the art of music | 5 |
had no intention of | 5 |
it may well be | 5 |
is that of a | 5 |
the top of the | 5 |
managers of the opera | 5 |
at the climax of | 5 |
new york on the | 5 |
the appearance of a | 5 |
the opera in which | 5 |
by reason of their | 5 |
on that of the | 5 |
the toilettes of the | 5 |
she was one of | 5 |
the plan of the | 5 |
of such a thing | 5 |
and he could not | 5 |
author of the gentle | 5 |
of a number of | 5 |
a great number of | 5 |
we do not know | 5 |
he came to the | 5 |
opera house in the | 5 |
quarters of an hour | 5 |
at some of the | 5 |
in the earlier work | 5 |
but on the other | 5 |
went to see him | 5 |
the influence of a | 5 |
for him to sing | 5 |
be out of place | 5 |
it was only with | 5 |
to the care of | 5 |
the minds of those | 5 |
at the opening of | 5 |
fell into the hands | 5 |
composer of the day | 5 |
he was the only | 5 |
the first time the | 5 |
the man in the | 5 |
to the number of | 5 |
in the front of | 5 |
the world of opera | 5 |
in the preparation of | 5 |
the requirements of the | 5 |
no less than five | 5 |
asked you to marry | 5 |
the following day i | 5 |
it was late in | 5 |
looked upon as the | 5 |
be regarded as the | 5 |
the end of each | 5 |
of the opera are | 5 |
had been brought up | 5 |
of the most successful | 5 |
the tower of babel | 5 |
the members of my | 5 |
to say that i | 5 |
to fly with him | 5 |
member of the metropolitan | 5 |
in the cathedral of | 5 |
a couple of days | 5 |
in the arms of | 5 |
the express purpose of | 5 |
it is no longer | 5 |
lustigen weiber von windsor | 5 |
same may be said | 5 |
she was not at | 5 |
by the sound of | 5 |
part of the scene | 5 |
became more and more | 5 |
and that she had | 5 |
the autumn of the | 5 |
was written for the | 5 |
the first representation of | 5 |
on the stage to | 5 |
can do is to | 5 |
revival of interest in | 5 |
with reference to the | 5 |
a tone of reflection | 5 |
for no other reason | 5 |
what it was that | 5 |
impossible for him to | 5 |
to offer to the | 5 |
appointed director of the | 5 |
which is one of | 5 |
with a feeling of | 5 |
was the result of | 5 |
la fanciulla del west | 5 |
a year or two | 5 |
the following year he | 5 |
in love with a | 5 |
there had been no | 5 |
the metropolitan opera and | 5 |
to the edge of | 5 |
walk up and down | 5 |
it does not seem | 5 |
which i have already | 5 |
have had something to | 5 |
development of the art | 5 |
do you think he | 5 |
the duet in the | 5 |
four thousand one hundred | 5 |
in the end the | 5 |
the contrast between the | 5 |
of the fate theme | 5 |
take the place of | 5 |
to keep out of | 5 |
and that it would | 5 |
performance of the work | 5 |
the development of opera | 5 |
in his early days | 5 |
to the astonishment of | 5 |
which there is a | 5 |
first part of the | 5 |
in the work of | 5 |
that he was the | 5 |
a considerable number of | 5 |
but this was not | 5 |
out of the room | 5 |
to the metropolitan opera | 5 |
the first time to | 5 |
during the season of | 5 |
in the government of | 5 |
i was informed by | 5 |
with a look of | 5 |
walking up and down | 5 |
a change in the | 5 |
the pen of the | 5 |
for ever and a | 5 |
der barbier von bagdad | 5 |
found it difficult to | 5 |
made up my mind | 5 |
in the first and | 5 |
had no time to | 5 |
she knew that he | 5 |
il figlio per azzardo | 5 |
a large sum of | 5 |
of the work at | 5 |
an old friend of | 5 |
opera at the academy | 5 |
the wife of the | 5 |
have nothing to say | 5 |
is founded upon a | 5 |
a glimpse of the | 5 |
the opening of my | 5 |
a great measure to | 5 |
it has not been | 5 |
i therefore had to | 5 |
in his later years | 5 |
a man who had | 5 |
very moment when he | 5 |
that he had made | 5 |
the first italian opera | 5 |
all that could be | 5 |
but none the less | 5 |
the love of the | 5 |
that she had no | 5 |
was impossible not to | 5 |
if there had been | 5 |
performed in london in | 5 |
the safety of the | 5 |
i went back to | 5 |
who had charge of | 5 |
from the point of | 5 |
the day after to | 5 |
in a manner that | 5 |
in the sense in | 5 |
half a century ago | 5 |
after an absence of | 5 |
works for the stage | 5 |
that he had only | 5 |
so much of the | 5 |
for many years to | 5 |
the opera is laid | 5 |
national academy of music | 5 |
in the maid of | 5 |
it was all right | 5 |
to the dignity of | 5 |
the mind of the | 5 |
the passage in the | 5 |
of the english school | 5 |
received a letter from | 5 |
at a little distance | 5 |
a form of art | 5 |
made up your mind | 5 |
no reason why the | 5 |
thought it would be | 5 |
would like to see | 5 |
until the middle of | 5 |
for one of the | 5 |
the scope of this | 5 |
the acquaintance of the | 5 |
was followed by the | 5 |
which had already been | 5 |
the prima donna was | 5 |
believed that he had | 5 |
you to marry me | 5 |
with the spirit of | 5 |
as much of the | 5 |
in lucia di lammermoor | 5 |
years of the nineteenth | 5 |
the disposal of the | 5 |
to give me a | 5 |
it was then that | 5 |
under the supervision of | 5 |
city and county of | 5 |
imperial russian musical society | 5 |
to be satisfied with | 5 |
that he has been | 5 |
the study of the | 5 |
in charge of the | 5 |
to find out how | 5 |
it must of been | 5 |
of all that is | 5 |
of the company was | 5 |
toilettes of the ladies | 5 |
so long as he | 5 |
not care a straw | 5 |
in the matthew passion | 5 |
the value of the | 5 |
portions of the work | 5 |
which she had been | 5 |
there is a great | 5 |
the number of performances | 5 |
the moment when he | 5 |
at the point of | 5 |
of the details of | 5 |
returned to new york | 5 |
that he should be | 5 |
you know that you | 5 |
since the beginning of | 5 |
and that they were | 5 |
for the express purpose | 5 |
of which it was | 5 |
opening of the third | 5 |
new york and london | 5 |
between the acts of | 5 |
of the house of | 5 |
came upon the stage | 5 |
already been pointed out | 5 |
was not likely to | 5 |
of the opera and | 5 |
sang the part of | 5 |
but he does not | 5 |
nothing in common with | 5 |
which it would be | 5 |
the critics of the | 5 |
in the light of | 5 |
in the mind of | 5 |
the entrance of the | 5 |
he felt that he | 5 |
as you like it | 5 |
with those of the | 5 |
lyric drama of the | 5 |
i was unable to | 5 |
as he had been | 5 |
the establishment of a | 5 |
of the most interesting | 5 |
to the people of | 5 |
in his own country | 5 |
for a time the | 5 |
that there had been | 5 |
was suffering from a | 5 |
he was obliged to | 5 |
you are in the | 5 |
and what did you | 5 |
of music in russia | 5 |
i need scarcely say | 5 |
the second act we | 5 |
a return to the | 5 |
knowing what he was | 5 |
is a great deal | 5 |
that he was now | 5 |
the point of death | 5 |
does not follow that | 5 |
but there is nothing | 5 |
of the fourth act | 5 |
that he was to | 5 |
up the idea of | 5 |
of three or four | 5 |
four times a week | 5 |
with a great deal | 5 |
when she had finished | 5 |
it is sufficient to | 5 |
time of the rosy | 5 |
in the next season | 5 |
and in the evening | 5 |
it is in this | 5 |
with the appearance of | 5 |
the second and third | 5 |
until the close of | 5 |
it will be seen | 5 |
opera ends with the | 5 |
at the corner of | 5 |
what might have been | 5 |
my return to london | 5 |
has been carried off | 5 |
i returned to london | 5 |
of the new russian | 5 |
his hands in his | 5 |
to get into the | 5 |
the case of a | 5 |
of the board of | 5 |
part in the performance | 5 |
beyond the limits of | 5 |
grand italian opera company | 5 |
such a work as | 5 |
we shall have to | 5 |
in the performance of | 5 |
in a few hours | 5 |
rest of the opera | 5 |
i received a telegram | 5 |
was that of a | 5 |
out of his head | 5 |
parts of the opera | 5 |
to live in the | 5 |
is not at all | 5 |
the extent of the | 5 |
but she was not | 5 |
went down to the | 5 |
been heard in the | 5 |
in which she has | 5 |
was surprised to find | 5 |
any barrels to sell | 5 |
she is to be | 5 |
in a few seconds | 5 |
that the composer was | 5 |
on the strength of | 5 |
when all is said | 5 |
the expression of his | 5 |
be said about the | 5 |
operas of the eighteenth | 5 |
that he had no | 5 |
the second scene of | 5 |
to interfere with the | 5 |
the words of which | 5 |
the greatest of all | 5 |
the voices of the | 5 |
the introduction to the | 5 |
it is the most | 5 |
of the gods is | 5 |
was given to the | 5 |
brought out at the | 5 |
very much the same | 5 |
under the spell of | 5 |
end of the first | 5 |
went to the station | 5 |
to the bottom of | 5 |
the mystery of the | 5 |
the captive in the | 5 |
which happened to be | 5 |
as well as by | 5 |
the consequence was that | 5 |
close of the act | 5 |
for the performance of | 5 |
never be anything but | 5 |
who happened to be | 5 |
sing the music of | 5 |
could not be expected | 5 |
the early history of | 5 |
by the terms of | 5 |
in the opera house | 5 |
is not necessary to | 5 |
the opera was the | 5 |
season of opera in | 5 |
and as soon as | 5 |
many of the songs | 5 |
the representative of the | 5 |
for more than a | 5 |
the level of your | 5 |
as it seems to | 5 |
was crowded from floor | 5 |
what did you see | 5 |
thirty or forty years | 5 |
which would have been | 5 |
to sing at the | 5 |
moment when he was | 5 |
me to tell you | 5 |
the last drop of | 5 |
the new form of | 5 |
a man of his | 5 |
would certainly have been | 5 |
so much so that | 5 |
be of any use | 5 |
if you are not | 5 |
with the history of | 5 |
of a couple of | 5 |
in the motor car | 5 |
as he did not | 5 |
i can tell you | 5 |
it was not long | 5 |
to the castle of | 5 |
and she knew that | 5 |
success in new york | 5 |
the sound of a | 5 |
the description of the | 5 |
there was no longer | 5 |
made up her mind | 5 |
on the stage as | 5 |
retired from the stage | 5 |
the right of the | 5 |
when i got home | 5 |
but she would not | 5 |
he would never have | 5 |
and when she had | 5 |
at that moment the | 5 |
that she should be | 5 |
is supposed to be | 5 |
in the house on | 5 |
a member of mr | 5 |
state of mind in | 5 |
fountain in the park | 5 |
and that i should | 5 |
of peter the great | 5 |
three or four times | 5 |
they had to be | 5 |
a son of the | 5 |
side of the atlantic | 5 |
at the door and | 5 |
on behalf of the | 5 |
tells her that he | 5 |
though she could not | 5 |
in the garden scene | 5 |
did not answer at | 5 |
that i should not | 5 |
would be absurd to | 5 |
it hard to believe | 5 |
would be useless to | 5 |
not by any means | 5 |
and had to be | 5 |
it was the ghost | 5 |
it is only fair | 5 |
the opera houses of | 5 |
of mind in which | 5 |
be one of the | 5 |
of the stockholders of | 5 |
after the first performance | 5 |
i do not care | 5 |
after a little pause | 5 |
was not thinking of | 5 |
the conclusion that the | 5 |
and county of san | 5 |
able to take care | 5 |
not to speak of | 5 |
a number of years | 5 |
she was accustomed to | 5 |
i thought i had | 5 |
so i had to | 5 |
is the result of | 5 |
he had not the | 5 |
on the th october | 5 |
act of la favorita | 5 |
up her mind to | 5 |
opened the eyes of | 5 |
well as i do | 5 |
from the french of | 5 |
during the performance of | 5 |
the conductor of the | 5 |
and it is to | 5 |
is the only one | 5 |
its first performance in | 5 |
the nineteenth century the | 5 |
in the principal part | 5 |
are interrupted by the | 5 |
but in the end | 5 |
the grand duchess helena | 5 |
i am willing to | 5 |
you know that i | 5 |
i feel without alarm | 5 |
the downfall of the | 5 |
of one or two | 5 |
to see and hear | 5 |
the position of the | 5 |
a considerable portion of | 5 |
new form of entertainment | 5 |
had the pleasure of | 5 |
during his sojourn in | 5 |
give it back to | 5 |
asks her if she | 5 |
the death of joseph | 5 |
most of them were | 5 |
for he had been | 5 |
says to the missus | 5 |
of the gentle life | 5 |
of the first italian | 5 |
stood in the way | 5 |
to do the same | 5 |
are for the most | 5 |
in the same opera | 5 |
which took place in | 5 |
that some of the | 5 |
was produced in at | 5 |
the most successful of | 5 |
is in many ways | 5 |
which appeared in the | 5 |
may be seen in | 5 |
it will be necessary | 5 |
it is clear that | 5 |
her that she had | 5 |
asked him if he | 5 |
i do not believe | 5 |
there is no question | 5 |
depths of the rhine | 5 |
that one of the | 5 |
without the aid of | 5 |
academy of music was | 5 |
from the works of | 5 |
the viscount and the | 5 |
what do you say | 5 |
the center of the | 5 |
a history of russian | 5 |
the third act shows | 5 |
the fountain in the | 5 |
between the composition of | 5 |
but as a matter | 5 |
on the day after | 5 |
three or four years | 5 |
and they did not | 5 |
that many of the | 5 |
there was only one | 5 |
there is little in | 5 |
did not intend to | 5 |
in the world for | 5 |
if they did not | 5 |
the queen of sheba | 5 |
the operas given were | 5 |
the birth of the | 5 |
second night of the | 5 |
as though they were | 5 |
a woman of the | 5 |
to the student of | 5 |
he tells her that | 5 |
it is as if | 5 |
and he began to | 5 |
herself in the glass | 5 |
he went back to | 5 |
in the first part | 5 |
the sense in which | 5 |
in search of the | 5 |
it has been seen | 5 |
he did not wish | 5 |
went so far as | 5 |
on good terms with | 5 |
are you thinking of | 5 |
had been brought to | 5 |
it was useless to | 5 |
but it was a | 5 |
that they were to | 5 |
to make room for | 5 |
from the depths of | 5 |
in the interest of | 5 |
the spring of the | 5 |
for the whole of | 5 |
is not in the | 5 |
puts an end to | 5 |
the policy of the | 5 |
set forth in the | 5 |
looked at his face | 5 |
in a short time | 5 |
the enthusiasm of the | 5 |
the only one to | 5 |
the public began to | 5 |
he was a little | 5 |
at the suggestion of | 5 |
was not until that | 5 |
the quality of his | 5 |
she would have been | 5 |
to be said that | 5 |
was produced in st | 5 |
go on the stage | 5 |
and she had been | 5 |
due to the fact | 5 |
a mile from the | 5 |
toward the end of | 5 |
when he had finished | 5 |
in new york at | 5 |
of the drama was | 5 |
beginning of the opera | 5 |
to the window and | 5 |
to be carried on | 5 |
this was not the | 5 |
as well as he | 5 |
and i must say | 5 |
in the language of | 5 |
biographies of the great | 5 |
such as it was | 5 |
the part of pollio | 5 |
more to be said | 5 |
door of the box | 5 |
would have been much | 5 |
she could not see | 5 |
the city of kitezh | 5 |
informed me that she | 5 |
may just as well | 5 |
upon the stage and | 5 |
the ranks of the | 5 |
of the performances of | 5 |
as i had not | 5 |
that it was only | 5 |
for any one to | 5 |
handsomely bound in cloth | 5 |
it does not follow | 5 |
had no difficulty in | 5 |
on the corner of | 5 |
the best part of | 5 |
and the death of | 5 |
appeared on the stage | 5 |
to be known as | 5 |
the property of the | 5 |
made a sign to | 5 |
during the last few | 5 |
an exclamation of surprise | 5 |
i regret to say | 5 |
was not of the | 5 |
it would be absurd | 5 |
and the production of | 5 |
the third act is | 5 |
take it for granted | 5 |
in a few years | 5 |
the difference between the | 5 |
a man of business | 5 |
to have taken the | 5 |
in honor of the | 5 |
presence of the public | 5 |
production of the opera | 5 |
in the previous year | 5 |
he was not only | 5 |
in an english version | 5 |
an hour before the | 5 |
the light in the | 5 |
will have nothing to | 5 |
i was on the | 5 |
at the first performance | 5 |
in favor of the | 5 |
in a spirit of | 5 |
cannot be said to | 5 |
it is likely that | 5 |
the same may be | 5 |
a matter of business | 5 |
the national opera company | 5 |
to prepare for the | 5 |
have been written by | 5 |
be borne in mind | 5 |
on my return to | 5 |
told him that i | 5 |
to walk up and | 5 |
he said in a | 5 |
to the close of | 5 |
and that if he | 5 |
the results of the | 5 |
act of die meistersinger | 5 |
say what you like | 5 |
anything in the world | 5 |
and i have no | 5 |
for a moment and | 5 |
the curtain rises upon | 5 |
if i do not | 5 |
it was given in | 5 |
from the scene of | 5 |
far as i was | 5 |
use of guiding themes | 5 |
her back to the | 5 |
at the opera and | 5 |
to think of it | 5 |
she could not help | 5 |
the scene from the | 5 |
she once told me | 5 |
but she could not | 5 |
i did not know | 5 |
hand at the level | 5 |
i found that the | 5 |
one of the other | 5 |
go to the opera | 5 |
which she had not | 5 |