Opera

A Second Book of Operas

England and the Lord Chamberlain's censorship, et Gounod's "Reine de Saba," The transmigrations of "Un Ballo in Maschera," How composers revamp their music, et seq,--Handel and Keiser, Mozart and Bertati, Beethoven's readaptations of his own works, Rossini and his "Barber of S...

Chapters

22. Chapter 22

There are but two musical works based on the story of Samson on the current list to-day, Handel's oratorio and Saint-Saens's opera; but lyric drama was still in its infancy when...

27. Chapter 27

For a quarter of a century "Cavalleria Rusticana" and "Pagliacci" have been the Castor and Pollux of the operatic theatres of Europe and America. Together they have joined the h...

31. Chapter 31

This is the book of the generation of "Madama Butterfly": An adventure in Japan begat Pierre Loti's "Madame Chrysantheme"; "Madame Chrysantheme" begat John Luther Long's "Madame...

28. Chapter 28

Having neither the patience nor the inclination to paraphrase a comment on Mascagni's "Cavalleria Rusticana" which I wrote years ago when the opera was comparatively new, and as...

18. Chapter 18

Whether or not the English owe a grudge to their Lord Chamberlain for depriving them of the pleasure of seeing operas based on Biblical stories I do not know. If they do, the gr...

21. Chapter 21

I have a strong belief in the essential excellence of Biblical subjects for the purposes of the lyric drama--at least from an historical point of view. I can see no reason again...

19. Chapter 19

It was the fond belief of Dr. Chrysander, born of his deep devotion to Handel, in whose works he lived and moved and had his being, that the heroic histories of the Jews offered...

34. Chapter 34

From whatever point of view it may be considered Mossourgsky's opera "Boris Godounoff" is an extraordinary work. It was brought to the notice of the people of the United States...

32. Chapter 32

In the beginning there was "Guntram," of which we in America heard only fragmentary echoes in our concert-rooms. Then came "Feuersnot," which reached us in the same way, but bet...

35. Chapter 35

The opera-goers of New York enjoyed a novel experience when Giordano's "Madame Sans-Gene" had its first performance on any stage in their presence at the Metropolitan Opera Hous...

29. Chapter 29

It would be foolish to question or attempt to deny the merits of the type of Italian opera established by Mascagni's lucky inspiration. The brevity of the realistic little trage...

36. Chapter 36

When the operas of Ermanno Wolf-Ferrari came to America (his beautiful setting of the "Vita Nuova" was already quite widely known at the time), it was thought singular and somew...

26. Chapter 26

Lakme is the daughter of Nilakantha, a fanatical Brahmin priest, who has withdrawn to a ruined temple deep in an Indian forest. In his retreat the old man nurses his wrath again...

24. Chapter 24

The most obvious reason why Goldmark's "Konigin von Saba" should be seen and heard with pleasure lies in its book and scenic investiture. Thoughtfully considered the book is not...

33. Chapter 33

Once upon a time a witch cast a spell upon a king's daughter and held her in servitude as a gooseherd. A prince found her in the forest and loved her. She loved him in return, a...

30. Chapter 30

"Light is the language of the eternal ones--hear it!" proclaims the librettist of "Iris" in that portion of his book which is neither said nor sung nor played. And it is the sun...

25. Chapter 25

In the ballet scene of Gounod's most popular opera Mephistopheles conjures up visions of Phryne, Lais, Aspasia, Cleopatra, and Helen of Troy to beguile the jaded interest of Fau...

23. Chapter 23

locks, which as a Nazarite he had vowed should never be touched by shears, labors at the mill. He has been robbed of his eyes and darkness has settled down upon him; darkness, t...

20. Chapter 20

brothers Jonathan and Simon, who lost their lives in the struggle against the tyranny of the kings of Syria, is intensely dramatic. For stage purposes the dramatists have associ...

12. Chapter 12

The opera's ancestry, Loti's "Madame Chrysantheme," John Luther Long's story, David Belasco's play, How the failure of "Naughty Anthony" suggested "Madame Butterfly," William Fu...

1. Chapter 1

England and the Lord Chamberlain's censorship, et Gounod's "Reine de Saba," The transmigrations of "Un Ballo in Maschera," How composers revamp their music, et seq,--Handel and...

13. Chapter 13

The opera's predecessors, "Guntram," "Feuersnot," "Salome," Oscar Wilde makes a mistaken appeal to France, His necrophilism welcomed by Richard Strauss and Berlin, Conried's eff...

8. Chapter 8

The twin operas, "Cavalleria Rusticana" and "Pagliacci," Widespread influence of Mascagni's opera, It inspires an ambition in Leoncavallo, History of his opera, A tragic ending...

17. Chapter 17

The composer's operas first sung in their original tongue in America, First performances of "Le Donne Curiose," "Il Segreto di Susanna," "I Giojelli della Madonna," "L'Amore Med...

4. Chapter 4

The predecessors of M. Saint-Saens, Voltaire and Rameau, Duprez and Joachim Raff, History of Saint-Saens's opera, et seq.--Henri Regnault, First performances, As oratorio and op...

15. Chapter 15

First performance of Moussorgsky's opera in New York, Participation of the chorus in the tragedy, Imported French enthusiasm, Vocal melody, textual accents and rhythms, Slavicis...

16. Chapter 16

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

9. Chapter 9

How Mascagni's opera impressed the author when it was new, Attic tragedy and Attic decorum, The loathsome operatic brood which it spawned, Not matched by the composer or his imi...

2. Chapter 2

Dr. Chrysander's theory of the undramatic nature of the Hebrew, his literature, and his life, Hebrew history and Greek mythology, Some parallels, Old Testament subjects: Adam an...

3. Chapter 3

Anton Rubinstein and his ideals, An ambition to emulate Wagner, "The Tower of Babel," The composer's theories and strivings, et seq.--Dean Stanley, "Die Makkabaer," "Sulamith,"...

10. Chapter 10

Influence of "Cavalleria Rusticana" on operatic composition, "Santuzza," a German sequel, Cilea's "Tilda," Giordano's "Mala Vita," Tasca's "A Santa Lucia," Mascagni's history, e...

14. Chapter 14

Story of the play, et seq.--First production of Hummerdinck's opera and cast, Earlier performance of the work as a melodrama, Author and composer, Opera and melodrama in Germany...

5. Chapter 5

Meritoriousness of the book of Goldmark's opera, Its slight connection with Biblical story, Contents of the drama et seq.--Parallelism with Wagner's "Tannhauser," First performa...

7. Chapter 7

Story of the opera, et seq.--The "Bell Song," Some unnecessary English ladies, First performance in New York, American history of the opera, Madame Patti, Miss Van Zandt Madame...

6. Chapter 6

Modern opera and ancient courtesans, Transformed morals in Massenet's opera, A sea-change in England, Who and what was Salome? Plot of the opera, Scenic and musical adornments,...

11. Chapter 11