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During his Netherlands Opera engagement Morrisson sang (in 1913
and 1914) several performances at the Antwerp Royal Opera, where
a very enthusiastic public cheered him in Martha, Der Freischütz,
Les Contes d'Hoffmann, Quinten Massys, Eugen Onegin, Cavalleria
Rusticana and Pagliacci, etc., and where he created in the Dutch
language "Alpenlied'', "Le Jongleur de Notre Dame"
and "I Gioielli della Madonna". During the same season
of the performances of this beautiful work of Wolf Ferrari at
the Royal Flemish Opera, Leon Campagnola was singing the same
role at the Antwerp Royal French Opera. In consequence opera
lovers went from one theatre to the other, making comparisons,
and despite the great and undoubted merit of M. Campagnola, at
the time at the peak of his glorious career, both the critics
of the time and the public were even more favourable to "this
young tenor with his prodigal voice" as several wrote at
the time. The two tenors went to see and hear each other. Fortunately
they were introduced and eventually became good friends. This
friendship between two exceptional artists grew during the 1914-18
war and remained as long as they lived.
One day, after a performance of I Gioielli della Madonna at which
Campagnola was present to hear and cheer his young rival, Campagnola
said, in an admiring and convinced voice, "My friend, if
I had your voice and my experience, which is so much greater
than yours can be by now, at this time my fame would be as great
as Caruso's and, believe me, I'm convinced of what I'm telling
you". This was in January 1914, a few months before the
great disaster which not only had such dramatic consequences
for the entire world, but seriously affected the career of our
young tenor who a few weeks later, through a Berlin impresario,
signed a five-year contract for the Chicago Opera, then managed
by Dippel. This contract bound Morrisson for the seasons 1914
to 1919 in the tenor roles of Il Trovatore, Guglielmo Tell, La
Juive, La Favorita, Cavalleria Rusticana and Pagliacci, La Forza
del Destino, Aida and Lucia di Lammermoor. Unfortunately owing
to the explosion of the Great War this contract had to be annulled.
Morrisson made his first recordings, commencing in 1910 in Berlin
for Favorite Records, then in London for Columbia in 1911 and
in 1913 in Paris for Pathe. The six vertical cut records he made
there appeared first on 35cm. discs, then they were cut on 25cm.
and still later they were re-recorded on to 25cm needle-cut.
From 1918 to 1920 some recordings were made for the Polydor company
(Reneyphone-Polyphon-Musola).
In 1919 Morrisson returned to Antwerp, then had a concert tour
covering London, Manchester and other British cities, following
which he visited the singing-pedagogue, M. Edmond Delit, another
Belgian. At a much later press interview Morrisson stated, "Monsieur
Delil gives his singing lessons following the old Italian methods
of Emanuel Garcia, Pauline Viardot-Garcia and Blanche Marchesi.
He has now settled as a singing master in Paris and today - here
inserting shyly - thanks to the successes I have everywhere I'm
singing in France today he is the professor who is consulted
by almost all the artists of L'Opera and the Opera-Comique for
instruction and for his wide knowledge of the science of voice-placing".
M. Delit was not only Morrisson's teacher, but as impresario
managed all Morrisson's contracts during his stay in France.
In fact he settled in Paris from July 1919 - at Neuilly-sur-Seine
- and made his opera debut for that country in the part of Eleazar,
La Juive, on January 16th, 1920, at Le Havre. There is an interesting
press interview report given the day following the performance.
To a question from one of the reporters Morrisson answered, "What
you were told, dear sir, is quite correct' The manager of your
Lyric Theatre really was afraid about me. because at the 'Italienne'
(short piano accompanied rehearsal) yesterday afternoon I sang
in half voice and by-passed the long passages. So when I had
returned to my hotel this gentleman said - about me - 'But good
heavens, our first falcon soprano will certainly strike this
gentleman, who doesn't even dare to let us hear his voice. Whatever
will happen tonight! At the beginning of the performance last
night - on hearing the baritone like notes of my first act entree
as Eleazar 'et pourquoi pas, et pourquoi pas?' he cried. 'Do
you hear, they have sent me a baritone, it's the biggest disaster
of my life!' But I can assure you, after my encore of 'O, ma
fille cherie' he came to me and kissed me, tears of joy and emotion
in his eyes and told me what his first thoughts had been. I am
not at all angry about this for he is not the first who made
this error, misled by the baritonal 'grave' of my voice, but
this way I can always say a lot for the performance, which generally
comes as a great 'surprise' . . ."
And a current critic wrote, "We have often heard 'La Juive'
but never felt the same emotions as we did last night, when we
heard and saw the new tenor Louis Morrisson in the role of Eleazar.
Have our senses played us false? We don't think so and have the
firm conviction that Mr. Morrisson is a genuinely superior artist.
How many famous tenors have we cheered in this role? Yet nevertheless,
when we compare - and this is what we do instinctively - all
those great artists did not reach the same peak of perfection.
Mr. Morrisson possesses the required organ and musical science,
and even when other singers have the same qualities, Morrisson
has something the others usually lack, a real acting ability:
a real scenic science. This science he translates through his
voice, his mimicry, his gait and costume. His voice is really
of a marvellous purity, very homogeneous with a splendid and
easy attack. He portrays the role in an original manner and the
character of his Shylock-like Jew is a remarkable one, growing
from the first note to the end. Starting from his 'O ma fille
cherie' the audience was in a really delirious mood and one 'Encore'
after another sounded. The Passover scene of the second Act was
of dramatic sobriety. Concerning the fourth Act we can only say
that it brought the warmest 'bravo's', so that our tenor was
absolutely obliged to sing a second time the famous, and so difficult,
'Dieu m'eclaire, fille chore' .... "
M. Morrison sang "La Juive" more than 1,200 times during
his career, with the famous falcon Mme. Mathilde Comes and the
basses Paul Aumonier, Paul Payan, Albert Huberty, Henri Bloemgarten
and M. Raybaud. In this role he was acclaimed at the Gaite Lyrique
where he conquered all Paris on November 21st, 1921. The Press
wrote the following morning: "The Gaite Lyrique has discovered
a new tenor, Monsieur Louis Morrisson. This is an heroic tenor:
he sings 'La Juive'. After the fourth Act he brought the whole
audience to its feet! It was the enthusiasm of a great night'.
The curtain was raised again and again and we had the honour
to hear an encore. So M. Morrisson began again and could have
sung for a third time his famous 'grand-air', as he did not give
the least impression of tiredness or effort. He really is made
for singing in large houses, because he has an astonishing, easy
emission and his tones, every tone, really fill the house. He
certainly will be acclaimed in the Opera Comique, but his real
scene of action should be L'Opera. Let us hope (he managers of
our lyric theatres will go to hear M. Morrisson, for we do not
possess many heroic tenors and this one ranks amongst the greatest."
The remainder of the cast that night were Mme. Madesky (Rachel),
the bass Emil Roque (Brogni), Vina Bovy (Eudoxie) and M. Burdino
(Leopold).
On December 21st, same year, the following criticism appeared
in a Paris newspaper: "Last night there was a performance
at L'Opera of 'I Pagliacci' with a new Belgian tenor in the title
role, M. Morrisson. Here he was as good as Canio as he was last
month at the Gaite Lyrique a good Eleazar. In this role he again
displays his fine vocal and scenic gifts, portraying in a perfect
manner the painful and fatal jealousy, bringing maximum effects
to the pathetic situations. His vocal power and ease over the
whole register from the highest to the lowest tones made of the
grand air a 'lamento' of breathtaking dimensions; further M.
Morrisson makes of the other famous and difficult pages really
unique compositions, convincing by the life-like outbursts of
passion. M. Morrisson gave an encore and won a very warm and
intense ovation and the warmth of this increased in strength
at the end of the opera."
A few months later Morrisson made his debut at the Opera Comique
on May 15th, 1922, in "Cavalleria Rusticana" and this
was another triumphant success for him. He carried the title
of this
institution for the remainder of his life. The following day's
report ran: "The main interest of the audience was especially
excited by the appearance on stage of the new tenor, Morrisson,
making his debut on our big lyrical stage. His mighty voice,
incredibly easy in the highest notes, his acting intelligence
as well as a young and warm conviction have given us a splendid
and vibrant interpretation of Turiddu. The fullness of his notes
throughout his entire register, as well as their long duration
made us think immediately at the 'souvenir' of our most outstanding
tenors. Considering the fact that he is not a Frenchman there
is not a trace of foreign accent when he sings, articulating
very intelligibly. Every word is understandable for the public,
which brought him, of course, an enthusiastic ovation, almost
without comparison, at the end of the night, making him repeat
the 'Vive le vin qui petille' given in a really splendid manner,
the high notes pealing above the chorus with an astonishing ease.
After this night we are convinced that M. Morrisson has conquered
all the real Parisian connoisseurs and we hope to see him often
on the stage of our National Academy of Music."
During this period Morrisson appeared on all the great stages
of France. Look what the critics wrote at Toulouse, to every
great singer a most redoubtable town, after a performance of
"II Trovatore".
"M. Morrisson, the tenor who was so appreciated by our citizens
some time ago in 'La Juive', 'Guillaume Tell' and 'Les Huguenots'
had naturally an enthusiastic welcome in the part of Manrico.
We will not say again that M. Morrison has found a role that
suits him, no, it was much better than that. By singing this
part his stature has increased, if possible, because his Manrico,
with its high notes, trumpeted with ease, sureness and unbelievable
suppleness has filled the lovers of Grand Opera with Joy. His
easy, mighty, full warm and well-limbered voice has astonished
everybody once again. Firstly in his 'Serenade' in the first
Act, then in the second Act duet with Azucena. He was obliged
to sing the 'mal reggendo' and the famous 'Ah! che la morte ignore'
of the Miserere scene twice; and concerning 'Di! quella pira'
this grew into a delirious success with no less than three encores.
An unforgettable night for lovers of grand opera and heroic tenors."
We find M. Morrison back, in "Guglielmo Tell" of Rossini
at Marseilles on January 30th, 1921, when the press wrote the
following about him: "He arrived here in Marseilles yesterday
afternoon from Le Havre. In that town he had sung 'La Juive'
the night before and last night he had to sing the part of Arnold.
It was a real revelation, with each Act his success grew and
it is true that yesterday's performance of this Rossini work
was one that our stage had never seen previously. M. Morrison
is not the traditional heroic tenor, he is a real 'mixed tenor'
who must be marvellous in 'Gli Unonotti' or 'Faust' in which
we should love to hear him. He triumphed in the 'fort' and all
the top notes. The power of his voice unleashed stormy ovations,
and in the indicated places this brilliant tenor presented some
sublime mezzo-voce phrases, with which this brilliant tenor fills
his hearers with ecstasy. Right from the first Act, after the
'Mathilde io t'amo d'amore' sung with love and emphasis, loud
ovations resounded. The same was true for the duet with Mathilde,
Mlle. Marguerite Charpentier, and the famous trio, Arnold, William,
Walter, with Mss. Weber and Aumonier, caused a long continued
ovation. The crown to this work was without doubt the encore
given by M. Morrisson to the famous Act 4 air 'O muto asil',
and the stretta 'Corriam, corriamo' brought a minute's long ovation.
At no time did the histrionic Morrisson give way to the singer.
Natural acting, expressive mimicry, the artist portrayed as well
as is possible all the emotions of the character. M. Morrisson
is incontestably one of the most remarkable artists we have seen
here at Marseilles."
And a newspaper extract from Bordeaux, January 20th, 1922:
"The superior talents of M. Morrisson, a singer we have
heard up to now in his successes as heroic tenor - La Juive,
Les Huguenots, Guglielmo Tell etc.- gave us during yesterday's
performance of 'Rigoletto' real life to the personage of the
Duke of Mantua. The strength, purity and durability of his beautiful
voice added to the beauty of the famous pages of this work. Especially
the love-duet and the 'La donna e mobile' which he had to repeat
of course. The interpreter of Rigoletto was Jean Note and Gilda
was sung by Mlle. Duffan."
"M. Morrisson in Les Huguenots" is the heading to an
article from an Avignon paper in 1922. "The Raoul of M.
Morrisson alone justifies mounting the opera. With a tenor of
such capacities and well-established fame, success was assured
in advance. Not only was it a success, but a genuine triumph.
To begin with. the 'Plus blanche que la blanche hermine' was
sung in such a way, so homogeneous a voice, such superb high
tones, that M. Morrisson had to repeat it. The 'o mon épée
of the third Act was a triumph, but the climax we had all been
waiting for was certainly in the fourth Act, the 'Ou vas-tu?
- Laisse-moi' and the 'Oui, tu l'as dit'' which brought the most
frenetic response from the public. The 'demi-teintes' were magnificent
and the high tones, brilliant and of exactitude and purity; the
stage acting was sober, measured and natural. Let us mark this
night with a little white cross, because it was a brilliant one.
In one word-unforgettable. M. Morrisson is certainly one of the
most beautiful Raouls we have ever heard."
The immortal work of Massenet was also one which he much liked
to sing: I mean "Werther", of which I reproduce here
an article, one amongst many, from the town of Nimes in 1924.
"It really happens very seldom that we can hear a voice
like this of M. Morrisson, so strong, so homogeneous, as good
in the low tones as in the medium and the high. Nevertheless
this heroic tenor with his trumpet like high sounds makes this
mighty voice supply lender in the marvellous melodical fiorituri
of Werther. Last night M. Morrisson sang it for us, it is the
first time we have heard him here in this part, in which he can
vocally translate the melancholic psychology, with a voice that
gave itself in an astonishing manner to the passages of tenderness
and charm, but sounded like a trumpet in the 'Invocation a la
nature' and the 'Couplets d'Ossian'. This really prodigal tenor
will never cease to bring us from one surprise to another, and
at each of his appearances, in each new part, he will keep us
under his spell; for his sober, fine acting, full of contained
passion, enveloped by a veil of melancholic sadness had kept
us so during all this performance. The least we can say is that
it was an immense success and the cheers at the end of the night
were endless."
So nobody will be astonished to learn that this prodigal "mixed
tenor" won brilliant success in "Faust", this
is what the Marseillians wrote in 1923: "Last night there
was a full house for the repeat of the ever-young masterwork
of Gounod, with Mrs. Morrisson and Huberty in the parts of the
Doctor and Mefistofeles.
"The talented tenor Louis Morrisson, who we cheered last
year in ... sang this work for us; with his splendid, gripping
and powerful voice obtaining, of course, the lion's share of
the night's success. From the first scene the bravo's sounded,
and grew, if possible, after the masterly interpreted duet. On
hearing the famous cavatine by this singer, one is moved to the
soul and the 'encores' obliged the great tenor to repeat this
difficult aria. In the final trio 'Anges purs, anges radieux'
his brilliant and prodigal voice was marvelously beautiful; this
voice that by its smoothness, in the high as well as the low
register is one of the most beautiful we know and is fascinating
to the most discerning of listeners."
And a commentary on "La Favorita" at Toulouse, May
1923:
"Last night we had 'La Favorita' on the play bill, with
M. Morrisson, the famous tenor of the Opera Comique. This part,
one of the most difficult that exists requires a vocal sumptuousness
that very few tenors have at their disposal. The air of the first
Act 'Un ange, une femme inconnue' sung in a perfect mezza-voce,
finished in such a brilliant manner, unleashed such enthusiasm
from the public that a repeat was an obligation, as well as the
air from the fourth act 'Ange si pur, que dans un songe' that
was sung in a marvellous manner. M. Morrisson is not distinguishing
himself solely by his voice with the prodigal timbre, but also
by his acting, always adapted to the situation and by his facial
expression. Numerous recalls at the end of the evening confirm
our personal opinion: M. Morrisson is an exceptional heroic tenor,
in the full meaning of the word; a tenor, we hope, we will hear
again very soon in our town of Toulouse."
At Bordeaux the same year we find in a newspaper article about
"Carmen": "Too many tenors confound Des Grieus,
Werther and Don Jose. There is nevertheless a vast difference
between them and we could easily find all the depths of this
difference in the interpretation by M. Morrisson of this legendary
personage, the 'bandit-for love', this wild and sad human being.
The conception of Mr. Morrisson remains very close to reality.
First he is the simple plebeian, full of distrust for Carmen,
the seductress, and it is only by the carnal desire that overwhelms
him completely that he will be vanquished and follow her. His
mimic art rends completely all the feelings that made him act
so, consequently it was a very convincing Don Juan we had the
opportunity to cheer, rousing, conquering his public in a really
extraordinary manner. The voice of M. Morrisson is of a purity,
a warmth and an exactness in all the registers, in the flower-song
it unchained an unparalleled ovation and the following encore
ended on a real storm of applause. It was an immensely successful
opera night thanks to the participation of this magistral tenor
M. Morrisson."
Again in a Toulouse newspaper dated December 1923 I find an eulogy
of his Radames interpretation: "After a few months absence
we meet again on our bill - and this with great pleasure - the
name of Louis Morrisson of the Opera Comique, the tenor who is
so highly appreciated by our Toulouse public and who, certainly,
is one of the very few tenors holding the attention of the world
of the theatre. After the 'Celeste Aida' a tremendous ovation
obliged him to repeat this famous aria which he gave with his
large and vibrant voice, this voice of an incomparable suppleness
and endurance that borders on the impossible, and which he projects
very easily, from the lowest to the very brilliant, thrilling
highest tones, with a style and exactness which compel unlimited
admiration and show possession of a most sure singing-method.
It is true that after having pampered us here in La Juive, Les
Huguenots and Guglielmo Tell we didn't expect less in this part.
But once again his success was immense, a real triumph, and the
recalls at the end of the night were unique in the annals of
our theatre."
At San Sebastian, Spain, in August 1921, where some days earlier
he had sung "Pagliacci" with Marcel Journet in the
part of Tonio and Mme. Rizzini as Nedda, a description of "La
Boheme" runs: "The performance of 'La Boheme', which
was given last night with the same interpreters as in 'Pagliacci'
last Thursday was one that will certainly linger long in memory.
The tenor Louis Morrisson, of Belgian origin, drew us the personage
of Rodolfo in a manner that was excellently true to life, with
all the ardent passion as well as the necessary tenderness of
love, infinitely poignant and human. It is an impersonation in
flesh and bones, as was his Canio some days ago, in a different
manner. After his great aria of the first Act the ovations broke
loose and he was obliged to repeat. M. Morrisson possesses a
very rare solid and caressing 'timbre' at the same time. His
notes are produced with perfect purity. His register is one of
the widest we know and he moves within it with unusual ease.
Yes, M. Morrisson is really a beautiful tenor and a great artist,
I should even say: 'A perfect artist, a complete one' . . ."
And so we can say that the great reputation of M. Morrisson triumphed
on all the great French lyrical stages, from Paris to Marseilles
and from Biarritz to Strasbourg, through Toulouse, Bordeaux,
Montpelier, Le Havre, Avignon, Grenoble, Monte-Carlo, Nancy and
many other towns. It is in France, in the part of Eleazar of
'La Juive' that this singer obtained a world-wide reputation
in a record time. In Spain, at Madrid, Barcelona and San Sebastian
he roused public enthusiasm in La Juive, Pagliacci, Cavalleria
Rusticana, La Boheme, Les Huguenots, Guglielmo Tell and many
other roles.
In north Italy, at Turin, Genoa, Aosta, Biella and Asta during
a gala cycle of French performances he went from one triumph
to another in La Juive, Les Huguenots, Faust, Hérodiade,
Romeo et Juliette, Carmen, Sigurd, Lakmé, Werther, Les
Pêcheurs de Perles and Louise.
In Switzerland, at Geneva and Lausanne, to which he returned
every season during his stay in France, he had, as everywhere
else, a lasting success in his specialities-those mentioned above
for Italy and Spain, plus Rigoletto, Tosca, Werther, II Trovatore
and La Favorita.
In Belgium, at Antwerp's Opera Royal Francais, Liege, Verviers,
Namur, Ghent, Mons, Charleroi, he sang all his great operatic
successes. A proverb has it "No man is a saint in his own
country", but Morrisson was the exception that proves the
rule. The least we can say is that he was carried on people's
shoulders in triumph.
In Germany our singer received ovations everywhere he appeared
during his concert-tours in Berlin, Dusseldorf, Munich, Hamburg,
Frankfurt, Dresden and Leipzig. In England he sang in London,
Manchester, Liverpool, Birmingham, Northampton, Nottingham and
Southampton.
The Netherlands, where he had made his debut and had stayed during
the Great War, public continued to acclaim him in La Juive, II
Trovatore, Faust, Carmen, etc., etc. but at the same time he
created, in Dutch, a great number of operettas of French and
Viennese origin:
Les Saltimbanques, Gri-Gri, Rip-Rip (which ran for months). La
Mascotte, Les 28 Jours de Clairette, Der Bettelstudent, Der Rastel-binder,
Die Geisha, Vendetta and many others. M. Morrisson had, and still
has, numerous enthusiastic admirers there, and faithful friends
who clamoured continuously for him, and so, even during his Paris
sojourn, he returned regularly to Amsterdam, to have triumphs
at each opera evening in La Juive, Les Huguenots, Pagliacci,
Cavalleria Rusticana, etc.
In 1918, during the time he remained in Holland, Morrisson signed
a very advantageous "exclusive" contract for a period
of five years with the Homocord Company, but during the time
of his great triumphs in France, the recordings were made, less
a couple, in both the French and Dutch languages. In this way
a double clientele could be satisfied.
During this five-year period several other recording companies
asked for M. Morrisson, but had to remain unsatisfied owing to
the contract. However, at the end of 1923 the Gramophone Company
(H.M.V.) made a proposition, but not very satisfied with the
contract offered, with the assistance of a legal adviser, he
made propositions to this company that wanted him. The discussions
were long and difficult and lasted until January 12th, 1925,
as evidenced by the voluminous correspondence, and on that date
a first five-year contract was signed. M. Morrisson obtained
what he desired, the contract fixing certain advantageous conditions,
especially that which obliged the company:
1. (a) To pay a high and fixed remuneration for each piece recorded,
and (b) to pay 5 per cent on the sale of each record, made by
the company, for the duration of his life.
2. Should M. Morrisson die during the five-year period of the
contract the company would continue to pay this percentage, under
the same conditions, to his heirs and successors, for a period
of ten years commencing at the date of decease.
These conditions granted him have not been obtained by any other
artist, no matter how famous, in this period by the company.
On January 12th, 1930, by mutual agreement, the contract was
renewed on the same terms for a further period of five years.
An inexplicable and unfortunate sequel was that during the period
of the second contract, covering the period January 12th, 1930,
to January 11th, 1935, M. Morrisson died on January 30th, 1934,
during the period of its validity. The heirs found to their surprise
that the company put an embargo on his records the day after
his decease, stopping every delivery and sale. Why? remains a
mystery that has not been explained up to this day.
But to find out what kind of person our artist was, in a newspaper
we read: "The short but very brilliant appearance of the
loved tenor gives us the opportunity to chatter for an hour with
this great artist, who in spite of his splendid triumphs and
ever-increasing fame, remains one of the world's most modest
and simple men. He has kept intact his independent and sincere
character, a trait of which he can be proud. This outspoken,
frank character won him some solid sympathetic friends, but also
some bitter animosity, for the theatrical world tends to prefer
those who feign and flatter-hypocrites; and the struggle to reach
the top is certainly not less in the case of a world-famous tenor."
In his correspondence we find everywhere indications of a man
who was very sensitive to the misfortunes of others, full of
goodwill to everyone he met. Those with whom he was personally
acquainted certify that he had a golden heart, always ready to
assist his fellow men. He was easily excited, but rapidly gained
control of himself. He was a very kind, frank and loyal character.
Even at the peak of his career he remained simple with no trace
of condescension to his less gifted colleagues, or others.
And his pastimes? When he had any free days in Paris his favourite
diversion was to make a tour of the antique dealers there, to
visit the sale-rooms, as his great passion was the collection
of period furniture and paintings by the early masters. He possessed
a large collection of pictures in his Paris residence, as well
as in his villa - called "Il Trovatore" in memory of
his opera debut - and where he spent his annual vacation.
Musical composition too was one of his preferred pastimes, he
left some very nice pieces, very attractive by their musical
intensity or most appropriate text; he wrote under the nom-de-plume
"Somoye", see the following records;
La Marche a Venus (No, 3) Favorite Records, for this he wrote
both lyrics and music.
Heil! Heil' Mannen van den Yser (No. 146) Homocord Records and
Madeliefke 'n bloemke (No. 171) H.M.V. Records for which he wrote
the lyrics, but the music in co-operation with Van den Eynde.
L'amour, toujours l'amour (No. 184) H.M.V. for which he wrote
the French translation of the English lyrics.
Song of songs (No. 187) and Sweet mystery of life (No. 190),
two H.M.V. records for which he wrote the Dutch translation of
the English lyrics.
O Scheldestad (No. 191) and 'Ce sont tes grands yeux noirs' (No,
192) two H.M.V. records for which he wrote the lyrics, but co-operated
with Neef for the music.
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Ernest Reyer, Sigurd:
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