The Complete Opera Book and Mozart's "Il Seraglio", occupying pp. 851–901. After 1929 it was enlarged to include Verdi's "Simone Boccanegra", Boito's "Nerone", Alban Berg's "Wozzeck", Puccini's "Turandot", Rossini's "La Cenerentola", Mozart's "Così fan tutte", Jaromir Weinberger's "Schwanda the Bagpiper" and Vaughan Williams's "Hugh the Drover" (pp. 901–930). The English 1935 imprint included Bonavia's notes on Rossini's "L'Italiana in Algeri", Rimsky-Korsakov's "Snegourochka" and two operas of Ildebrando Pizzetti: parts of the former supplement had by now been incorporated into the main text, and the overall page-count before index was now 945 pages. While no amount of enlargement could possibly have made the work literally
Robert Radford to another source) Hagen in "Götterdämmerung". He was then engaged with the Grand Opera Syndicate at the Royal Opera House, Covent Garden, and he was successively engaged by Thomas Beecham in his productions at various venues, including Covent Garden, Drury Lane and His Majesty's Theatre. In Beecham's production of Wagner's "Ring cycle" he again played Fasolt, opposite the Fafnir of the younger Norman Allin, who succeeded him as Britain's foremost bass. Among his best-known roles were Mephistopheles (Gounod's "Faust"), Osmin ("Il Seraglio"), Sarastro ("The Magic Flute"), the Father (Charpentier's "Louise"), "Ivan the Terrible" and "Boris Godunov" (title role), which he