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RM2AKFCJ6–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . great tenor was presented bythe directors with a diamond-studded cigarette case in ap-preciation of the fact that he had helped the managers outof a dilemma by singing six times in seven days—for $2,500a time! It is a pleasure to turn down this page of the Chronicleof Scandal in order to open one which tells of an idealisticendeavor on the part of the gentlemen to whom New Yorkis indebted for the maintenance of that proud and greatinstitution, the Metropoli
RM2AKBNTH–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . of September. Therewas, indeed, in the document an absence of emphasis uponthe subject of the German repertory; but to that the publicwere accustomed. The prospectus called attention to theproposed production of two American works (an opera, Shanewis, and a ballet, The Dance in Place Congo, byHenry F. Gilbert) and also of Liszts oratorio St. Eliza-beth, which was to be given in the form of an opera inEnglish; but mention was made of the retention of a stage
RM2AKBPX1–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . e to thegenius of the French language as Gluck conserved it in hissetting than did the German; and we might have beenspared some of the bad vocalization with which we werefrequently overwhelmed in this and previous seasons. Before proceeding with the story of other incidents ofthe operatic season in New York let me dispose of the Met-ropolitans novelties. The first was Bizets Les Pecheursde Perles, which was given on the opening night, November13, 1916. The
RM2AKBRAG–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . byMr. Hammersteins people at the Manhattan Opera House.To the subscribers Rheingold, which this year found it-self in the subscription list for the first time since theGerman regime, was quite as much of a novelty. A longlapse of time between its first English production in NewYork and its revival in the original German version ofGoetzs Taming of the Shrew prevents that opera frombeing put in the same category. The only real noveltieswere the Russian opera
RM2AKFDD1–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . The Author ^MORE CHAPTERS OF•* OPERA U^Lf- BEING HISTORICAL AND CRITICAL OBSERVATIONS AND RECORDS CONCERNING THE LYRIC DRAMA IN NEW YORK FROM 1908 TO 1918 BY HENRY EDWARD KREHBIEL MUSICAL EDITOR OF UTHE NEW YORK TRIBUNE j AUTHOR OF <(HOW TO LISTEN TO MUSIC, STUDIES IN THE WAGNERIAN DRAMA, MUSIC AND MANNERS IN THE CLASSICAL PERIOD, THE PIANOFORTE AND ITS MUSIC, A BOOK OF OPERAS, AFRO-AMERICAN FOLKSONGS, ETC , AND CHAPTERS OF OPERA, TO WHICH THIS VOLUME IS
RM2AKCGTY–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . t of endurance. It was neverheard of after the season. Der Rosenkavalier achievedsuccess by its exquisite stage-setting, the beautiful portionsof its music, and the splendid singing and acting of Mmes.Ober and Hempel. Wolf-Ferraris opera came too late inthe season to have a fair test, but it proved to be worthy ofa permanent place in the Metropolitan list, though it did notachieve it. The Chicago-Philadelphia Company occupiedthe opera house for four success
RM2AKFEM9–Histoire du théatre de l'opéra comique . fon où le Doâreur fait rentrer fafille. Léandre , ayant perdu toute efpé-tance , veut fe percer de fon épée ymais Pierrot, fon Valet, len empêche ;cependant il vient à bout de fe débarraf-fer de ùs mains, Se il fe jette dans larivière. Vénus paraît à propos, & or-donne aux Nayades de le fecourir j el-les le prennent dans leurs bras & le po- de V Opéra Comique. 41 fènt fur le rivage. Le Do&eur, Ifabel-!e& Coiombine, viennent & trouventLéandre étendu &c fans connaiffance.lfabelle sévanouit dans les bras deCo-lombine qui eflfaye de la faire revenir 3Se pre
RM2AKCR11–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . creased from 36soloists to nearly 100, the orchestra from 65 to more than150, the chorus from 75 to 180. The company now pos-sessed facilities to give two performances a day and alsohad a working agreement with the Boston Opera Com-pany for an interchange of singers. In the old and ap-proved list were found the names of Frances Alda, EmmyDestinn, Geraldine Farrar, Olive Fremstad, Johanna Gad-ski, Louise Homer, Lillian Nordica, Alessandro Bonci,Enrico Caruso
RM2AKFC1F–Histoire du théatre de l'opéra comique . re fon époufepour la fille du Gouverneur. Le Cadifort, furieux du tour quon lui joue , endifant au Teinturier quil peuç rempar*ter fa fille, ? de r Opéra Comique. 4S3 ? I E R R O T, au Cadl qui sen va. Air : LanturhuDe votre malice,Monfîeur le Cadi ^Par notre artifice,Vous voilà puni :En bonne jufHce,Ce nefl quun prêté rendu $Lanturlu,&c. OMAR. Je reprendrai bien la inarchandife ;mais je ne rendrai pas largent. LE PRINCES Zcmîre. Vous voilà bien vengée > Madame,& le Cadi doublement trompé. Suit un DivertilTement Ôc un Yaudë*ville dont voici un couple
RM2AKBP99–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . hout a dissenting vote aresolution offered by Count Seebach, director of the RoyalTheater at Dresden, was unanimously adopted which boundthe members of the society to grant no leave of absence toany singer who wished to go to America and not to engageany singer who accepted an American contract, the agree-ment to last for five years. The action, Count Seebach said,had nothing to do with the war, but was only a measure ofself-protection on the part of German
RM2AKFA86–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . I—IH CO W Q MANAGER, BOXHOLDERS, AND PUBLIC 41 it also ought to be obvious to the reader: We are at ahistorical cross-ways, studying the beginning of a period inwhich the policies of the institution were dictated by thewishes and predilections of the gentlemen who controlledthe Opera, and the whims of the ladies whose wishes con-trolled them, and the conclusion when those wishes andpredilections were compelled to yield to a large considera-tion—the will of
RM2AKCBHY–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . Comique. As a promised sequel to Louise and the product of the composer who had been acclaimedby enthusiastic friends as the greatest successor of Gounod,the Parisian public had displayed great interest in it, but thecritics had not been deceived. They declared it to be ob-scure in purpose, undramatic, and much inferior in melodicinvention to its predecessors. It turned out to be all thesethings and more. The natural curiosity of a public whichhad given a l
RM2AKCJ54–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . er Boris Godounow wasborn about 1551 and rose to be the chief adviser of the RussianCzar Ivan the Terrible, marrying the daughter of the Czars cruelfavorite Walynta Skuratow. Ivan then made Irene, Boriss sister,the bride of his half-witted son Theodore. At Ivans death Borisbecame one of the guardians of the young Dimetreus, a son ofIvan by another wife, and at the same time practically the rulerof the empire. Theodore died childless and shortly afterwardsDi
RM2AKBH8E–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . sugges-tion for his oratorio. Otto Roquette put the pictures intowords, and Liszt, grouping the text into two divisions, setit to music of a partly dramatic, partly epical kind. Thescenes may be briefly described thus: I. Arrival of Elizabeth as a child at the Wartburg. She is ac-companied by magnates of her native Hungary, and is receivedwith joy by a group of children, who are to be her playmates, andby the Thuringian nobility. II. Elizabeth has grown to
RM2AKCD96–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . niversal appeal could be spoiled by an attemptto turn it into an English opera was demonstrated on theafternoon of January 24, 1914, when a piece in one actentitled Madeleine was performed for the first time.The book of the opera was adapted from the French ofDecourcelles and Thibaut by Grant Stewart; the music wascomposed by Victor Herbert. In the official prospectus ofthe season Mr. Gatti announced that it was intended to rep-resent the National Art of Mu
RM2AKCWD1–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . ishment began withthe restoration of the Italian regime under Abbey, Schoef-fel, and Grau in the winter of 1891. She effected her debuton December 14, the opening night, in Gounods Romeoet Juliette. It was an auspicious introduction for theyoung American. She was only twenty-four years old, andthere was much to laud in her art and nothing to condoneexcept its immaturity. Her endowment of beauty of per-son as well as voice was opulent. She appeared in theope
RM2AKBW8H–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . %.* v»lt pro nil De dire t . gor - ger tont Pana De. gno - |e, VI. ve le son, vt-ve 1c 500, CUo aqoa » Cm. ma This melody provides the thematic orchestral substratumfor practically the entire first scene. It is an innocentenough tune, differing little from hundreds of French vaude-ville melodies, but Giordano injects vitriol into its veins byhis harmonies and orchestration. With all its innocency,however, it was this tune which came from the raucousthroats
RM2AKCJM7–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . atures thatlend themselves gracefully to an operatic setting, whichmight even be said to demand an operatic investiture, butwhich frequently in all that makes it great and glorious in itsoriginal form resents despoliation of any kind, had beenturned into an attractive musical drama. With its Gallicesprit inseparable from the original text there evaporated somuch of its characteristic charm that few of M. Rostandsadmirers could approve of the transformation;
RM2AKCN89–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . ough in small forms,proved to be abortive when applied to an extended drama,and was abandoned, so that Konigskinder as given atthe German Theater was merely a play with music speciallycomposed for it. It was so near an opera in spirit and themusical investiture which Humperdinck had given it, how-ever, that its complete translation was inevitable, and afterHerr Humperdinck had visited New York to witness thetriumph of Hansel und Gretel he gladly accepted a
RM2AKBN03–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . order that he might produce grand opera in it for fourweeks in the next season. In a spirit of magnanimity headded: I do not wish to crush the Metropolitan; I amcoming to develop my own season. The explanation of thisremark was to be found in the fact that it had been recog-nized that Chicago was unable to support a season of morethan ten weeks and that inasmuch as it was not practicableto make contracts for singers of such short duration it wasnecessary to
RM2AKBJMC–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . ss is German music. There is no effect in which theymeet, unless, as we thought when hearing Marouf forthe first time, it is that dry cackling of wood-wind instru-ments in dissonant chords which accompanies Bostana, thefemale pendant of the barber, and which Rabaud uses tocharacterize the virago who drives Marouf into good for-tune. But this is an all but negligible feature in the Frenchopera and not one of its charming traits. The chief fasci-nation comes
RM2AKCNGC–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . iss Aronte Andrea Segurola Une Naiade Marie Rappold Un Plaisir Alma Gluck Conductor, Arturo Toscanini On December 10, 1910, there was a first performance onany stage of a new Italian opera by Puccini. This was LaFanciulla del West, the libretto of which had been fabri-cated by G. Zangarini and C. Civinni out of Mr. DavidBelascos melodrama, The Girl of the Golden West. Themanagement had put its finest talent at the service of thecomposer, who had come to Ame
RM2AKC9BD–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . evolutionary airs peppered the pages of Ma-dame Sans-Gene —the same airs which had given fierce lifeto the same composers Andrea Chenier. Quite natural,this, for the two operas are allied in subject and period aswell as in style of composition. Chenier goes to his deathto the tune of La Marseillaise and the mob marches pastthe windows of Caterina Huebschers laundry singing therefrain of Roget de Lisles hymn. But Giordano does notmake extensive use of the na
RM2AKFE3B–Histoire du théatre de l'opéra comique . 5Sur leur cime toujours fleurie,Les pommes dor font briller leurs attraits 9Et les rameaux font courbés fous le faix. Les Nymphes quittent la prairie,Pour folâtrer fous leur ombrage épais,Et refpirer, à longs traies,Les doux parfums & le frais.Ces arbres 3 cultivés en France ,Ont, il eft vrai, beaucoup dégénérésMais, malgré cette différence,Un parterre, fans eux, neft jamais bien paré.On les voit furpaffer encore.,Quoiquici délicats Se vains,Tous les autres préfens de Pomone & de Flore ^Qui font lhonneur de nos jardins. Les fentimens, Meffieurs, font de
RM2AKCMCR–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . s in despair. She finds consola-tion in a cigarette after locking the door. But the Count^returns unexpectedly, his fury still upon him, and, findingthe door locked, breaks down the barrier. Susanna, caughtflagrante delicto, hides her cigarette behind her back. Heseizes her roughly and burns his hand. The secret is out—confession, mutual forgiveness, and the Count, enrollinghimself among the devotees of Dame Nicotine, takes a lightfrom his wifes cigarette.
RM2AKCRRT–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . rvingwoman Alice Gentle Second Servingwoman Mile. Severina Third Servingwoman Miss Milda Fourth Servingwoman Mme. Walter-Villa Fifth Servingwoman Mme. Duchene I have already made record of the first performance ofthe work in Europe and the facts touching Mr. Hammer-steins acquisition of the right of performance in America.It was written as a spoken play by Hugo von Hofmannsthal,a Viennese dramatist. After Strauss had provided it withmusic a French translati
RM2AKBJ35–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . THE STYLE OF THE MUSIC 401 idiom of the East is transmuted into a speech which be-longs to the world of exalted fancy—exalted yet altogetheringenuous. The score is wonderfully transparent. Thereis not an opaque measure in it, not one in which instru-ments are multiplied or colors mixed till the utterance be-comes turgid, not one in which one voice invalidatesanother, not one in which even the most exotic of tonesand combinations does not seem native because
RM2AKFD44–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . NEW YORK HENRY HOLT AND COMPANY1919 Copyright, iqxq by HENRY HOLT AND COMPANY tETje (Qutnn & IStoben Companp BOOK MANUFACTURERSRAHWAY NEW JERSEY To WILLIAM J. HENDERSON, Esq. The Author s Colleague and Friend {or a generation THE AUTHORS ACKNOWLEDGMENTS Practically everything in this book has been printed atone time or another in the columns of the New York Tri-bune, though much of it was written that it might appearin its present form and for reasons which
RM2AKCE5F–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . t, he throttles her. The lover is of the people of the princess and was be-trothed to her before she became perforce a hostage and aloveless wife. His passion is like that of Tristan, Romeo,and all their fellows who have lived since the human racebegan. There is pathos in its fierceness and in the fatalitywhich enshrouds it from its first disclosure. There is a greaterpathos in the struggle which takes place in the heart of theyoung wife when she feels the
RM2AKFC73–Histoire du théatre de l'opéra comique . :Voilà Gogo déjà coquette.Sans le Ravoir. COLETT E.. Plus dun mari coquet, volage ,.Prétend que fa femme foit fage,.Tandis quil manquera fon devoir ;.Epoux, quelle crrejur eft la vôtre !.Dormez, dormez fur cet efpoir yMais vous.ferez comme les autres £Sans le fçavoir* L U C A S. Je nous*aimons fans nul reproche vJe nachetons point chat en poche £Quand il sagit de fe pourvoir yMais à la Ville, jarnonbille !..On donne dans le pot au noir y0xi prend fouvent veuve pour fille.fcSans le fçavoir.. COU N. Iris-dormait fur la fougère;Un jeune Berger tÃ
RM2AKBKNR–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . s comment seems imperativefor the sake of the integrity of this critical record, thoughthey were of very unequal artistic importance. I takethem up in their order: Marouf/ an opera comique in four acts and five scenes,has for the author of its libretto Lucien Nepotv and for itscomposer Henri Rabaud, with whom the lovers of seriousmusic in the Eastern cities of the country made excellentacquaintance a year later when he came to the UnitedStates as conductor
RM2AKCTEA–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . a district heavy with the cluster-ings of theatrical traditions. It was called The Kingsway,was about equidistant from Covent Garden and Drury Lane,and debouched into the Strand. In this spacious street Mr.Hammerstein caused a beautiful theater to be built ofgranite and marble at a cost of about $750,000. Of themoney expended on the construction $300,000 came fromthe sale of the Philadelphia and New York interests, thatsum being still in his hands after he
RM2AKBTW2–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . y,however, it was this tune which came from the raucousthroats of politically crazed men and women, while nobleheads tumbled into the bloody sawdust, while the spoils ofthe churches were carried into the National Convention in1793, and to which several members, quitting their curulechairs, took the hands of girls flaunting in priests vestures,danced a wild rout, as did other mad wretches when adancer was worshiped as the Goddess of Reason in theCathedral of
RM2AKBNAA–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . Charles Wakefield CadmanComposer of Shanewis. Melanie KurtIn Fidelio GERMAN PERFORMANCES ABOLISHED 393 that the decision was not of recent date nor had it been in-fluenced by the recent experience of the Boston SymphonyOrchestra at Providence. The directors, it was said, hadreached the conclusion that to continue the giving of Ger-man opera might hearten the people of Germany becauseof the exaggerations with which the story of the Germanperformances might b
RM2AKCEHG–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . O w HW O4) Q. ww< QWi—i DER ROSENKAVALIER 311 it on November 23, 1911. He was only thirty-eight yearsof age and had made an enviable reputation in Americawhen he sang with the Henry W. Savage Opera Companyand afterward in Munich and Berlin. The German Kaisersent a representative from the Legation at Washington to hisfuneral. Mr. Griswold was a native of Minneapolis, Minn.The order of the production of the operas new to the NewYork public, with the discus
RM2AKCPFE–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . 0 to $1,000, or a subscribing member for $100 or less.The plan was to become operative on the receipt of sub-scriptions amounting to $300,000, a board of directors wasto be elected by the founders and stockholders on the basisof the amount subscribed, and the City Club, through itsboard of trustees, was to appoint three directors each year. On May 4, 1913, the City Club announced that subscrip-tions amounting to one-third of the $300,000 had been se-cured.
RM2AKCK0T–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . of loveand AllHer falser self slipt from her like a robe,And left her woman, lovelier in her moodThan in her mould that other when she cameFrom barren deeps to conquer all with love. But even here it requires but a word to loose the fanaticaldemon within her. Gwynn had pleaded his love and wonher to a confession of tenderness. He is glad and wishesher to know that she has fashioned her countrys happinesswith her own: Gwynn: This nightThou hast saved Britain
RM2AKCFTN–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . Pasquale AmatoAs Cyrano de Bergerac. O w HW O4) Q
RM2AKBME1–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . of unfitness for judgment who placed the two singerson a plane—unfitness by reason of ignorance of what Mme.Pattis voice and art had been and want of knowledgeconcerning the art of vocalization itself. Mme. Galli-Curci is a delightful singer, with so beautiful a naturalvoice and such exquisite skill that she deserves high ad-miration despite a woeful blemish in her art which obtrudeditself in nearly every one of her performances. Thisblemish, that of incorr
RM2AKFCC8–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . Bonci, Aloys Burgstaller,Carl Burrian, Enrico Caruso, Stephen Delwary, RiccardoMartin, Albert Reiss, Giuseppe Tecchi (tenori) ; BernardBigue, Giuseppe Campanari, Otto Goritz, Adolph Miihl-mann, Antonio Scotti (baritoni) ; Robert Blass, HerbertWaterous (bassi). Improvements which added to the com-forts of the patrons had been made in the building. Twoelectric elevators were installed in the Fortieth Street lobbyin addition to the two already there, for the u
RM2AKBGN5–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . ewspaper: Mr. Cadmans little opera containsthe elements of dramatic sincerity and force; and thesehave commended it to the public attention. It is alwaysmelodious, and of course that counts for much, and thefirst act has a duet of really meritorious quality. It has thecharacter of the composers songs and it does not rise tothe higher levels of lyric style, but it has temperament anddramatic feeling. This was a verdict prompted by a desireto be as kind as po
RM2AKFE85–Histoire du théatre de l'opéra comique . des ennemis 9y Sanchoeft obligé de sarmer, de fe trouver aucombat; il eft jette par terre, & pourcomble de malheurs, croyant être fauve,il apperçoit Thérefe Pança fa femme.Ceft alors que ne pouvant tenir contretant dadvemtés, il abdique le gouver-nement, ôc demande avec inftance fonGrifon , pour regagner au plutôt fonvillage. La pièce finit par un divertiflement» de lOpéra Comique, n$ Coupla du Vaudeville. En amour ainfî quà la guerre 9Il faut rufer pour être heureux :Auprès de lobjet de fes feux ,Qui veut fc tirer bien daffaire ,Tique, tique> tac &g
RM2AKBT42–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . t unerring. How continent his orchestra! Yet what aneloquence and power does it contain as an expositor of theinnermost heart of the drama! Is there another page inoperatic literature to be put alongside of the Largo episodein the overture and its repeated recurrence when the spec-tral visitant who haunts the minds of the personages andruins the fabric of the play makes its appearance? HasWagner improved the introduction to the third act by hispalpable imit
RM2AKFD1K–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . men, as cable dispatches told us, and Mr. Conried pro-fessed ignorance on the subject. These denials persisted aslate as February 8. Meanwhile at a meeting of the Boardof Directors of the Metropolitan Opera and Real EstateCompany on February 7 Otto H. Kahn and Edmund L.Baylies, directors of the Conried Company, made a requestthat the period of the lease, which still had three years torun, be extended. The lease had been framed to be opera-tive only during t
RM2AKCHB5–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . X o < Q < o 3o-oo O o. w h-» w HO « o w .J THE STORY OF THE OPERA 297 rises on the populace assembled in the courtyard appealing to Boristo declare himself Czar. This he at first refuses to do. In thisscene the Gloria (Slava) as sung in the Russian Church isintroduced with fine effect.* The second scene shows us a cell in the Convent of Miracleswhere Brother Pimenn, an aged monk who is recording the annalsof the empire, arouses the.imagination of the
RM2AKCAMP–More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . rk, where she sang atthe Academy of Music on November 26, 1883. She cameto the Metropolitan Opera House with an Italian companywhich, under the management of Abbey and Grau, gave aseries of 21 performances after the close of the Germanseason of 1889-90. She was also a member of the companywith which Mr. Abbey re-established Italian opera at theMetropolitan in 1901-02, having been engaged for the ex-press purpose of singing the part of Selika in LAfri-caine,
RM2AKFDTE–Histoire du théatre de l'opéra comique . e dépoufer Don Brufcos.Comme Valere croit être trahi par Fron-tin , la Marquife & lui prennent le partidenlever, lun Ifabelle, & lautre DonBrufcos. Frontin évente encore ce projet;& , feignant de le prévenir , il fait tom-ber le Jaloux dans le panneau. Don di lOpéra Comique. 427Brufcos & la prétendue Duègne font en-tevés par les Gens de la Marquife. li-belle ëc Béatrix fa fuivante appellent dufecours. Valere vient, qui propofe à faMaîtrefTe de fe laiffer enlever. Elle ré-iifte mais la Marquife termine fon irré-folution , en lui annonçant quelle tientD
RM2AKFF2P–Histoire du théatre de l'opéra comique . ai PARIS* Cfiez La combe y Libraire , RœeChriftine , près la rue Dauphine. M. DGC LXIX.Avec PtrmiJJîm & Privilège. Digitized by the Internet Archivein 2013 archive.org/details/histoireduthatreOOdesb PRÉFACE v Jai cru quil ferait ridicule detraiter ferieufement lHilloire delOpéra Comique ôc de faire unedifcuflîQti raifonnée dun genrequi ne VeCi pas; je nai donc voit*lu procurer dans celui-ci quuneiethue de fimple amufement 6cpropre à déiafiër de plus féricufesque fournir abondamment ce fic-elé 3 peut-être auffî trop philofo-phique : jai cherché à donner
RM2AM8K8K–The grand opera singers of to-day : an account of the leading operatic stars who have sung during recent years, together with a sketch of the chief operatic enterprises . tage. She and her sister Carmela had appeared ina vaudeville house under rather unusual cir-cumstances. They had no suitable clothes forthe stage, and persuaded the manager to letthem appear in ordinary street clothes. He letthem try it, with much trepidation, for one eve-ning. After that they were advertised in elec-tric signs over the theatre door. Notwithstanding the allurements of vaude-ville, William Thorner, her teacher
RM2AMY5YK–The grand opera singers of to-day : an account of the leading operatic stars who have sung during recent years, together with a sketch of the chief operatic enterprises . that this at the New Theatrewas a revival. In addition to M. Clement twoother good singers made their first appearanceon the same occasion, Alma Gluck, and DinhGilly, — soprano and baritone, and both metwith good success. Madame Alma Gluck is one of the most re-cent and most successful of the youngersingers. She made her debut in New York atthe New Theatre in 1909, as Sophie in<l Werther. The story of her rise to celeb-rit
RM2AMYJTA–The grand opera singers of to-day : an account of the leading operatic stars who have sung during recent years, together with a sketch of the chief operatic enterprises . odis hopelessly faulty. M. Eenaud is an artist,though his voice during his short engagementhere seemed to have lost much of its originalbeauty. Sammarco, a young baritone new toAmerica this season, has a fine voice. SignorArimondi (bass) is also a worthy artist. Inspite of the pleasing qualities of some of therecruits to the ranks of the opera singers thisseason, we have heard no one who can in anyway impair the lustre of suc
RM2AMYRHJ–The grand opera singers of to-day : an account of the leading operatic stars who have sung during recent years, together with a sketch of the chief operatic enterprises . re is a great public, — a hugepublic, — beyond the reach of such opera com-panies as can afford to employ the greatsingers. This public wishes to hear the greatsingers. One who has made a reputation inopera, as Nordica, Schumann-Heink, andBispham, mentioned in this article, or, notably,Bonci of the present day, can find better com-pensation, with less wear and tear, by headinghis own concert company, than by singing ingrand o
RM2AWNR8A–Grand opera in America . IN MEMORY OF George Fitzroy GRAND OPERA IN AMERICA Ube ZlDusic %ovev& Series Great Composers and Their Work By Louis C. Elson Famous Singers of To-day and Yesterday By Henry C. Lahee Famous Violinists of To-day and Yesterday By Henry C. Lahee Famous Pianists of To-day and Yesterday By Henry C. Lahee Contemporary American Composers By Rupert Hughes Grand Opera in America By Henry C. Lahee A Critical History of Opera By Arthur Elson The National Music of America and ItsSources By Louis C. Elson The Love Affairs of Great Musicians. 2 Vols. By Rupert Hughes Womans Work in
RM2AMYA9T–The grand opera singers of to-day : an account of the leading operatic stars who have sung during recent years, together with a sketch of the chief operatic enterprises . has shown distinctoriginality and whose popularity has steadilyincreased is Maria Gay, a Spaniard, who ap-peared at the Metropolitan Opera-House in1908. She did not begin her musical studiesuntil she was sixteen years of age, and then herprogress was interrupted by an uprising againstthe monarchy, in which she took a prominentpart, and spent nearly six months in jail forsinging a revolutionary hymn at a meeting ofthe Separati
RM2AMY4XM–The grand opera singers of to-day : an account of the leading operatic stars who have sung during recent years, together with a sketch of the chief operatic enterprises . ed musical ability early and by thetime he was twenty-two years of age was al-ready well known as an opera singer through-out Austria and Germany. Slezak made his first conspicuous successwhen he sang at Berlin as a guest, in Lohen-grin, the result of the performance being acontract for several years at the Royal Opera.In 1900 he appeared at Covent Garden, and thefollowing year at Vienna. In 1908 he suddenly left Vienna and w
RM2AMXX3E–The grand opera singers of to-day : an account of the leading operatic stars who have sung during recent years, together with a sketch of the chief operatic enterprises . the Boston Opera Company. Mr. Mardones is an accomplished singer andhas a large repertoire which he sings both inFrench and Italian. His chief success with theBoston Company has been in Boitos Mefisto-fele, in which he took the title role. Sibiriakoff, a Russian, has impressive, butnot ponderous or sluggish bulk, and orders hisposes and movements skilfully. His voice is arich, smooth, flexible bass, skilfully directed,capable
RM2AWNM3G–Grand opera in America . iata,and the second LAfricaine. On theWednesday afternoon Albani appeared asAmina in La Sonnambula, and in the 184 Grand Opera in America. evening William Tell was given withMierzwinski, Galassi, and Dotti. On theThursday evening Rossinis Semiramide,in which Patti and Scalchi were the attrac-tions, and on Friday Wagners FlyingDutchman was produced with Ravelli, Ga-lassi, and Albani. Saturday matinee, DonGiovanni, with Patti, Dotti, and Fursch-Madi; and Saturday evening Lohengrin,with Mierzwinski, Galassi, Monti, Scalchi,and Albani. Henry Abbey secured the contract for
RM2AWNEAT–Grand opera in America . Mozartsoperas, having in her repertoire nearly all ofthat composers works. Madame Gadski sang again in America dur 266 Grand Opera in America. ing the following season (1895-96), and hasbeen in evidence every season since, becom-ing one of the most popular singers, andbeing known almost all over the country.Her husband is an Austrian army ex-officernamed Tauscher. She has presented one of the most poeticand admirable interpretations of Elizabeth inTannhauser ever seen in this country. Madame Johanna Gadski may be classedas one of the best, the most richly endowedof the
RM2AMYJ0C–The grand opera singers of to-day : an account of the leading operatic stars who have sung during recent years, together with a sketch of the chief operatic enterprises . May, 1912, after an operation for appendicitis.She had been engaged to return to opera inAmerica in the season of 1913. She was sur-vived by several children. During the Grau regime at the MetropolitanOpera-House Madame Murio Celli secured anengagement for her pupil, Eleanor Broadfoot,who had just returned from her first operaticventure, a months tour of Mexico. MissBroadfoot was to appear in small roles, butduring the engage
RM2AWNJTT–Grand opera in America . the astutestof all directors, . . while to Henry Abbeymust be attributed every straightforward and 222 Grand Opera in America. honourable quality. Maurice Grau was thecleverest of entrepreneurs. While we have been attempting to followthe progress of grand opera in America, asindicated by the greatest companies whichhave appeared, it must not be forgotten thata great many, one might almost say all themost successful opera singers of the greatcompanies, after their engagements were atan end, would form opera companies of theirown under the management of some impre-sario,
RM2AM8N26–The grand opera singers of to-day : an account of the leading operatic stars who have sung during recent years, together with a sketch of the chief operatic enterprises . cribed as a somewhat unusualand distinctly charming little person. MissTeyte, whose name was originally Tate, is ofScotch-Irish descent, and went to Paris to studysinging under Jean de Eeszke. It was in Paristhat her name was changed, in order that theParisians might give it the proper pronuncia-tion. After five years study with de EeszkeMiss Teyte appeared in Paris as Melisande.Comparisons between Miss Teyte and MissGarden n
