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News From VHSource, LLC Vol 10 October 2011 Those Wonderful Female Librettists

eventually became totally deaf during a healthy The Ladies Rise To The Occasion portion of his career. That fact did not stop his career any women advocates seem to feel that the in the least. Mitchell is definitely on our list to plight of the female librettist is a relatively feature within the next year simply because he is a Mnew phenomenon over the past 50 years with huge giant in the early foundations of Broadway and the emergence of Gloria Steinem and women’s lib. In has more than 75 Broadway shows on his credits. fact one of the major movements in the performing arts Many occurred after suffering what should have been today – right now – is something known as 50/50/12. a game ending handicap. He is also proving to be That rallying cry translates to women’s representation very elusive – his name pops up all the time with in the arts/men’s representation in the arts/ 2012 or , Weber & Fields, Florenz Ziegfeld, even more simply – moving women into 50% etc., but no one seems to have ever taken the time to participation in all aspects of the arts by the year 2012. paint a good picture of this giant. For those of you Please don’t think we are belittling this movement in looking for research projects, here is a big one. any way. Issues of concern almost always need at some point a loud drum beating drive to get people to at least Scott Joplin (1867-1917) – the wonderful examine situations African-American composer who dared to write an opera Treemonisha in 1910. Never produced in its However, the idea is also formulated around an entire form until 1972, it was still a huge intangible that is almost impossible to foist upon the achievement by a person who was not ever offered arts – the idea that theatres should hire anyone just “equal opportunity” but who did have creativity, skill because it would be nice to have half women and half and that most intangible item – passion. He “self men as actors, as directors and as playwrights. Art is published” his about passion, quality, vision, and talent – not really /vocal about gender. Still, it would be wonderfully refreshing score in 1911 – if every once in a while a theatre or producing company currently a might take it upon themselves to explore an entire full major “new” season of works about, written by and/or directed by i d e a b e i n g the less well represented – women, people of color, c o n s t a n t l y physically challenged, etc. discussed a hundred years It is also very important to keep in mind that the arts later. That are an individual driven genre. There have always been publication those artists who were “different” (read not able-bodied resulted in a white men) who have risen above all odds and review in the succeeded. publication A m e r i c a n Julian Mitchell (1854-1926) – while Mitchell began Musician and able-bodied and white, the creator of the position we Art Journal in have for a hundred years called the stage director June of 1911, 2 News From VHSource, LLC Vol 10 October 2011 which called his work “an entirely new phase of immediately following the crash of the Manhattan musical art and … a thoroughly American opera.” Note Opera Company in March of 1910. That calamity again the year – 1911—the genre – opera – and the took with it Herbert’s hopes for a production of his words “American opera.” Seems as if both Joplin and , and he was very much in need Herbert were on the same page, yet one was a of appeasment. Young was far from a beginning household name working with other household names playwright at the time. while the other was an under-represented, “different” voice not unlike all cutting edge new voices down Born Rida Johnson on February 28, 1875 in through the years. Herbert got his production within the Baltimore, Maryland, she was an actual American next year while Joplin’s work had to wait until 1972. A from birth – not always something all American good case can also be made that Joplin succeeded in writers of the time were able to say. She began her creating a new “American style” opera far better than artistic life as an actress with both the Viola Allen Herbert did. and E. H. Sothern Broadway companies. Her first known writing project was Lord Byron in 1900, a You will hear more about both Mitchell and Joplin at play produced by James Young who became her a later date. This month we want to focus on two very husband in a marriage lasting from 1904 -1910. The powerful female playwrights/librettists/lyricists who work was not a Broadway play. both rose to prominence with Victor Herbert between 1910 and 1911 and who had huge careers in the Young’s first Broadway play was Brown of Harvard, entertainment world apart from their Herbert opening in 1906 at the Princess Theatre, the same experiences. theatre of the famous Kern, Bolton and Wodehouse Princess Theatre . While billed as a “play,” Their stories are very typical of all artists who prepare, this work produced her first known song, “When are passionate and in the right place at the right time. Love Is Young.” The work was also made into three However, even more importantly these women were different films in 1911, 1918 and 1926 (for which able to take the ball and continue down the field after young John Wayne joined his fellow USC football that wonderful moment in the sun came and went. That teammates during all the sports scenes). is how careers area born – how you mold the whole of your existence. Between this work and the 1910 Naughty Marietta, Young created five more plays and musicals, even mimicking Herbert a bit by opening multiple works in 1907 – the 1907 comic play The Boys of Company "B," The Lancers, a 1907 musical, Glorious Betsy, a 1908 play (turned into a silent film in 1928), The Lottery Man in 1909 (a later film version featured Oliver Hardy), and Ragged Robin, a musical in 1910.

It was around the time of her divorce in late 1909-early 1910 that Ms. Young went to work for M. Witmark & Sons as a staff librettist/lyricist and found herself in the right place at the right time with an influential and “impressed” boss. Young found herself introduced to Hammerstein and Herbert in (1875-1926) got the first late April 1910, thus forming the team that created opportunity to work with Herbert when Isidore America’s most famous , Naughty Marietta, Witmark of M. Witmark & Sons – her boss at the (Broadway opening November 7, 1910.) For this time – recommended her to producer Arthur project she served as both librettist and lyricist, and Hammerstein, who was desperately seeking a thus, was responsible for the lyrics of some of the librettist/lyricist to pair with composer Herbert most famous American operetta songs of all time: 3 News From VHSource, LLC Vol 10 October 2011

“Ah, Sweet Mystery of Life,” “I’m Falling In Love also explains the three year cessation of creative With Someone,” “Tramp, Tramp, Tramp,” and “The output. Italian Street Song” to name but a few from that production. Obviously, Young was capable of working All in all, she crafted a significant writing career just as fast as Herbert – no small feat. while remaining an independent woman from 1910 to 1926. That career included more than 30 plays and Ms. Young opened musicals with such collaborators as Victor Herbert, two productions and Sigmund Romberg, along with following the many lesser known composers resulting in the lyrics s u c c e s s o f to more than 500 songs. Hollywood had discovered Marietta during her work way back in 1911 and would continue to the 1911-1912 take her plays and musicals and turn them into silent season including films. Add that to the utilization of her Herbert B a r r y o f librettos and lyrics and one finds more than 42 Ballymore which different movies crediting Young in one way or contained another another. Quite a significant list of film credits for a of her famous song female. She was named to the Songwriters Hall of lyrics “Mother Fame (launched in 1969) as part of the very first class Machree.” Ms. of inductees in 1970, joining all those famous Young seems to fellows: Herbert, De Koven, Kern, Harry B. Smith, have penned two Cohan, Foster, , Joplin, Sousa, new works per year , and Romberg among many others. from 1911 through 1916, skipping only 1915, How many women joined Ms. Young that first year? apparently to take a breather. During the middle of this Only Katherine Lee Bates and Anne Caldwell. amazing run she combined in 1912 with American composing giant Jerome Kern for The Red Petticoat, Kern’s first completely original score. The next significant project teamed Young with composer Sigmund Romberg for Maytime which opened at the Shubert Theatre on August 16, 1917. The production starred Peggy Wood, and amassed 492 performances while relocating frequently to a total of four different theatres. This production helped establish Wood, a veteran of the chorus of Naughty Marietta, as a bona fide Broadway actress and Romberg as a Broadway Fred de Gresac (1879-1943), whom you will meet composer. again later in this newsletter, is a representative of a particular type of female writer: Amandine Aurore Young’s career kept moving forward two shows per Lucile Dupin, Baronne Dudevant who wrote as year through 1920 skipping only the year 1919 – from George Sand and Mary Ann Evans as George 1911 through 1920. Her output suddenly stopped for Eliot, or even today’s J.K. Rowling, who all felt the three years, not to resume until 1924 with another work need to hide the fact that they were indeed women in with Victor Herbert, The Dream Girl, which opened at order to succeed. This amazing French writer’s name the Ambassador Theatre on August 20, 1924, running is actually Frédérique Rosine De Grésac, who was for 117 performances. If you look closely at the date, born in 1879 in Lamalou-les-Bains, France and spent you may notice that this work’s opening was not quite her entire writing career known as Fred. three months after Herbert’s death on May 26, 1924 – truly a bittersweet production. Sadly Ms. Young would De Gresac was an established journalist and novelist pass away herself on May 8, 1926 at the age of 56 from in Paris long before she arrived in breast cancer – a disease probably never even discussed with her husband, international opera baritone, in public during the 1920s. That disease most likely Victor Maurel (1848 – 1923). While the exact date 4 News From VHSource, LLC Vol 10 October 2011 of their marriage is unknown, it is clear that 1) she 1913 brought two retained her maiden name throughout her own career, more writing credits and 2) she was 31 years younger than her esteemed for De Gresac as she husband. The first arrival of the married couple in New wrote the book and York City is also a bit hazy. Maurel’s primary singing lyrics for Peters and career with the Company was Reinhardt’s The from 1894 to 1896 at which time De Gresac would Purple Road. This have been in her teens. It is possible that she might work, co-written have been his wife when he sang again with the Met with William Carey during most of 1899, but even then she would have Duncan, opened on been in her early 20s. Broadway at the Liberty Theatre on It’s far more likely that De Gresac married her husband April 7, 1913. The after he retired from the stage and relocated in New more important 1913 York City as an opera coach, although even that date is credit would come as she co-wrote Victor Herbert’s not known exactly. However, De Gresac’s earliest with Harry B. Smith (lyrics by Robert B. theatrical credit as a librettist came for a play, La Smith). This operetta opened in the New Pasarelle, written with Francis de Croisset. The play Amsterdam Theatre on September 8, 1913. opened at the Lyric Theatre on November 7, 1904. Neal Gould reports in his book Victor Herbert, A Two more operettas followed: The Marriage of Kitty Theatrical Life that an uncredited De Gresac again co-written with de Croisset, which opened on contributed the French dialogue in 1906 for the Herbert December 18, 1914, and a solo credit for libretto and operetta of , libretto by Henry Blossom. lyrics for the musical comedy Flo-Flo, which opened in 1917. De Gresac’s next major credit would again For those of you who don’t know that work terribly come from another collaboration with Victor Herbert well, there is a very famous scene towards the end of resulting in Orange Blossoms with lyrics by Buddy Act I in which an automobile crash takes place off G. DeSylva. stage and introduces the audience to two memorable dueling characters, the Countess De La Fere and Orange Blossoms was based on that very first Joshua Dodge, British solicitor. The wonderful Francis de Croisset and Fred De Gresac play La production number “The Accident” is followed swifty Passarelle which, if you remember, dates back to by a stream of French from the Countess that is totally 1904. Produced in 1922 at Broadway’s Fulton and comically misunderstood by all. Henry Blossom is Theatre, this work has two major distinctions: 1) it the sole credit for the libretto and lyrics, but it is quite was really far more a play with music than it was an possible that the complexity of that particular scene operetta; and 2) it was the last Herbert operetta to be required the hand of a native French speaker. Perhaps produced while he was still alive. We will of course it was the work of Fred De Gresac which would have delve into this work more closely when it comes up introduced her to Victor Herbert. down the road in the Spotlight On ... Series.

1911 would prove a major year for De Gresac as she De Gresac’s last original stage credit was the play created the libretto (lyrics by Harry B. Smith) for Afraid to Love (date unknown) which would Victor Herbert’s The Enchantress (October 19, 1911 eventually be filmed in 1927. She would also be Broadway opening) as well as the book for Reginald represented on the Broadway stage one last time with De Koven’s work, The Wedding Trip (December 25, the 1929 revival by the Aborn Brothers of 1911 Broadway opening), also with Harry B. Smith. Sweethearts. This, too, would also be turned into a Please again note the dates of these two openings. film in 1938 with and Jeannette Obviously neither composers or librettists fooled McDonald. around with years of development in those days. You will read more regarding The Enchantress under the Speaking of film, Fred de Gresac still had major Spotlight On....Series elsewhere in this newsletter. things to do in the entertainment world. No less than 5 News From VHSource, LLC Vol 10 October 2011

15 films, over and above the silent films already Sweet Sixteen and Mlle Rosita aka The Dutchess. mentioned, credit de Gresac as writer of either the Wait – cobwebs and lethargy? Victor Herbert? story, adaptation, or scenario. The play La Passarelle went from a play to a musical to a film; other notable The time was the summer of 1911 – less than half a credits included The Kiss of Hate, The Great Secret, year removed from the wild success of Naughty The Son of the Sheik, The Eternal Temptress, La Marietta and the emotional “Sturm and Drang” of the Boheme (starring Lillian Gish), Camille, Breakfast at grand opera Natoma. Herbert was, after all, a human Sunrise, the above mentioned Afraid to Love, She being, and it stands to reason that he would reach a Goes to War, Hell Harbor, and Escape from Devil’s point at which “enough was enough” – even though Island. Fred de Gresac passed away on February 20, he had on his plate three more operettas which 1943 in Los Angeles, at the age of 64. needed creating for 1911. These works were under contract for opening within not only a single season, There we have two female giants of the entertainment but also within an insanely short amount of time – world, both creating with Victor Herbert: Rida three openings in 35 days – When Sweet Sixteen, Johnson Young penning Naughty Marietta, the most September 14, The Duchess, October 16 and The famous American operetta and The Dream Girl; and Enchantress, October 19, 1911. It appears very clear Fred de Gresac producing The Enchantress, that his heart simply was not in either of those first Sweethearts and Orange Blossoms – all of which could two works – the composer had hit the proverbial wall be considered among the top twelve to fifteen Herbert finally. operettas. Neither one rested on those laurels and both carved careers in the entertainment world the equal of The years 1910 – 1911 had a different feel to them any male – all long before Gloria Steinem had even than anything which had proceeded in Herbert’s appeared on the modern horizon. career. Incredible lows (the collapse of the Manhattan Opera Company and abandonment of his grand opera just as it was ready for production) Spotlight On . . . followed by incredible highs (the wild success of The Enchantress (1911) Naughty Marietta) and then the marvelous resurgence of Natoma in only to be he Enchantress (No. 29 in the Herbert lineup of followed by the resulting uniformly critical pounding operettas) is the last of our four 100th anniversary in the papers unlike any the composer had ever THerbert works for 1911. It was also a wonder experienced. Herbert’s life was suddenly a roller from the beginning if coaster of emotions. Those first two operettas – for no other reason When Sweet Sixteen and The Duchess (even for the than the fact it illustrious Fritzi Scheff) – reflected perhaps a need followed two really to chill and not work very hard. lesser works almost immediately. Perhaps In another interesting move, Herbert opted to not it was an outgrowth take his to Willow Grove Amusement of Herbert’s Park during 1911– a first since he began that frustration with those association in 1902. The Victor Herbert Orchestra predecessors – had been committed to an extended Spring of 1911 perhaps it was the Southern Tour a full year earlier – about the time the solid book and brand roller coaster was just click-clacking away from the new relationship with loading platform. Herbert had no choice but to honor librettist Fred De that commitment, but choosing to skip Willow Grove Gresac – perhaps the was a bit of a surprising development. composer had simply Kitty Gordon gotten the cobwebs Another rather bizarre circumstantial juxtaposition The Enchantress and lethargy out with occurred towards the end of that critical shredding the scores for When Herbert felt he was receiving at the hands of the 6 News From VHSource, LLC Vol 10 October 2011 press. On June 12 of 1911, Villanova University project had two new fresh ideas: (1) a relatively awarded Herbert an honorary Doctor of Music degree. unknown singer, British import Kitty Gordon, to The citation read: write for – thus no expectations such as must have arisen from Ms. Scheff for The Dutchess; and (2) a The greatest musician of this century who lovely french librettist, Fred de Gresac, who has done more for the American music- actually was a female, and an already established loving public than has any man in years. playwright married to a famous French Baritone. The The Offenbach of America! How much ever present Harry B. Smith stood at the ready with music lovers and theater goers owe to lyrics, while another fresh face was found in the Victor Herbert, his exquisite melodies and masterly direction of . Mr. fairly new producer Joseph M. Gaites, who had only Herbert has a fine, big head and it is full of five previous Broadway projects to his credit. music and harmony. All honor to the Frederick G. Latham was on hand to guide the master. staging with Gustave Salzer holding forth as musical director. Another first for any Herbert work was the The whole situation was nothing short of head crediting of “Dances by Mr. F W Bishop.” We do not spinning, and probably had a strong influence on the ever recall seeing what is a choreographer by today’s rather curious interviews Herbert began giving standards ever mentioned prior to this. The earliest regarding his work on The Enchantress. Even more real dance crazes were just getting underway in importantly, Herbert appeared to be at odds with his America and Herbert definitely had that in the back own work for these interviews. You may recall from of his mind for this work. The score itself was our examination of both Naughty Marietta and suddenly back to Herbert writing Herbert at his best Natoma that Herbert was focused on finding, – waltzes, marches, style songs, love duets – even a discussing and writing a new “American style” of number entitled simply “Dance” late in the second music. However, he had also fallen into a rather act. Mr. Herbert had recovered his stride and the Wagnerian style of writing with Natoma, being critics loved it – just the balm for a discouraged ego. constantly concerned with the very European idea of Leitmotifs for each character running throughout his The title role went to score. the aforementioned Ms. Gordon whose primary Now we come to The Enchantress. In all his allure appears to have interviews regarding this work, the composer was still been a “lovely back.” on that same new American style wave length: “I While she played determined to disregard absolutely every foreign Vivien Savory, an impulse. I had determined to write in a frank, American opera singer, she did style, full of freshness and vitality.”(Buffalo not have much of a Commercial - February 28, 1911). However, in singing talent, but she suddenly awakening back into his characteristically was the epitome of the strong writing abilities, his Enchantress slipped back “enchantress” with musically into all the glories that mark the grand stunning good looks European style of operetta. Doing a musical and a regal air about comparison between The Enchantress and Scott Kitty as Vivien her. Herbert wrote her Joplin’s opera Treemonisha, both written in the same music which showcased year and both proclaiming a new American style, her strengths and allowed her to captivate everyone. unfortunately shows how very far away from that new, She led a rather smallish, heavily female cast for the longed-for American style Herbert really was. period – 11 ladies and only 6 men. A chorus of 36 rounded out the company. One of the truly unique Working on The Enchantress must have felt like a aspects of this libretto is that eight of the 11 female breath of fresh air, even though it opened out of town principals were in fact chasing after the sexy “coming on October 9th in Washington DC while The Dutchess of age” Crown Prince Ivan of Zergovia – six was moving towards its Broadway opening. The princesses, one aging Russian princess and of course 7 News From VHSource, LLC Vol 10 October 2011 one token American heiress – none of whom is the entrance enumerates all the different styles of leading lady. princesses he has dated or “pursued” and then he proceeds to dance a different style with each queen The entire story takes place in Zergovia, where the candidate including – a waltz, a mazurka, a polka, a dashing bon vivant Prince Ivan must finally marry to pseudo minuet, a two-step and a polonaise (six ascend his throne. At curtain rise, all of the princess princesses and six dances). The last theme proves possibilities have assembled to lure our hero into not only fiery but the perfect entrance for Vivien and matrimony. The audience is quickly introduced to a then weaves magically into her first solo, the lovely relatively typical trio of minor officials who have been “The Land of My Own Romance” – one of happily ruling Zergovia until the Prince comes of age. Herbert’s splendid declarations of love. This is Each has designs on retaining his present influence followed by Ivan and Vivien’s first love duet, “Rose, unfettered by a sudden new King who might, God Lucky Rose” which again incorporates dramatic forbid, take some power away from them. Their dialogue into the song and then a melodic solution is to import an enchantress of common birth to conversation, another waltz and a repetition of woo the Prince and cause him to lose his throne. Vivien’s principal air – Leitmotifs, anyone? Interestingly there are two very different endings to this libretto. The second act continues with 10 more new songs and in typical Herbert fashion – no reprises. Edward In the two act script which appears to have made it to Waters singles out two titles for praise, “One Word Broadway, royal blood is found in Vivien’s family tree From You” (a second love duet for Ivan and Vivien) which resolved the problem of Ivan falling for a and “All Your Own Am I,” sometimes also called commoner – she’s not a commoner after all. However, the “Champagne Song.” What he fails to even in the version filed with the copyright office, there is no mention is probably one of the most frequently royal blood found. Vivien helps the young prince see requested and performed Herbert aria ever – “Art Is the need for ascending the throne and steers him Calling For Me” – often referred to as the “Prima towards the young princess he has favored since Donna Song.” You may immediately recognize the childhood – Stephanie. Vivien returns to her opera first line of the chorus – “I long to be a prima donna, world – sadder perhaps but ever the prima donna. New donna, donna, I long to shine upon the stage.” You York audiences received the happier ending. might even know the first lines of the verse – “Mama is a queen and papa is a king, So I am a princess I The score opens with the six princesses discussing in know it.” This wonderfully comic song is high on the song their suitability for the job of queen with the list of all coloratura sopranos and yet in the actual orchestration mimicking their constant conversationl show it is sung by a pudgy, very unglamourous lines. Our villain the Regent of Zergovia surfaces with Princess Stellina, almost the most minor of the six “If You Can Be As Happy As You’d Like to Be.” We princesses. Surprisingly, even in the early 50s, when have often mentioned Herbert’s signature style Waters was penning his Victor Herbert, A Life in production numbers where the singer thrills the Music, he did not find the song worth mentioning. audience with three to six different vocal styles of the VHSource would place “Art Is Calling Me” right same melody. In The Enchantress, Prince Ivan’s up there in popularity with “The Italian Street Song.”

Regarding reviews, as hard as the critics were on Herbert following the performances of Natoma, they poured forth the exact opposite for The Enchantress. The majority seemed to fall all over themselves celebrating the score. As Boston’s theatre critic, Henry Taylor Parker (1867–1934), best known as simply H.T.P. had always been especially happy to take Herbert and his music to task. He first saw The Enchantress early in the initial part of the tour with 8 News From VHSource, LLC Vol 10 October 2011

Herbert himself on the conductor’s podium for the reconstructing so much as restoring. If one creates performance. The resulting review simply glowed: “At orchestral materials from piano/vocal scores then that his best – and he sustains his best through much of his is the act of orchestration and thus, reconstruction. newest operetta – we Americans may justly match him Everyone of these artists which you will meet over against the more vaunted composers of .” Note: the next few months is primarily a restorationist who yet another reference to Herbert returning to his European has done this work out of passion and love of roots for his new American style. H.T.P. also went on Herbert’s work – certainly not for the money. record stating that Herbert was such a grand conductor However, each of these artists has become a that “if Herbert conducted operetta regularly he would “vendor”of Shop VHSource and provides all of the be worth his weight in gold.” Did the critics like De digital material available on the website. Gresac’s work? Not really.

The Enchantress ran only 72 performances on Broadway but that should not be indicative of its success. The short run was actually planned and advertised well in advance, and a tour had already been sold to round out the 1911-1912 season. The operetta would keep Ms. Gordon employed solidly for the next three full years until it finally closed for good in VHSource was founded on the twofold goals of 1) November, 1913 on the West Coast. We recently saw making original Herbert performance materials a lovely revival of this script at Catholic University in available to orchestras and musicians as quickly as Washington, D.C. with preparation and stage direction possible all over the world and 2) giving by Ellwood Annaheim. While it was done with piano restorationists a vehicle to begin reaping some accompaniment, it was funny, bright, and entertaining. monetary support for their labors of love This work is well worth a new look. You’ll find both encompassing hundreds, even thousands of hours of the Piano/Vocal and the Libretto available from Shop extremely painstakingly detailed work. They each VHSource as well as the individual songs: “Art Is receive roughly 70% of the fee you pay for their Calling For Me,” “Land of My Own Romance,” and materials. Not only do you get fine performance “All Your Own Am I.” materials exactly as Herbert wrote them, but you also help support this passionate work. Let’s continue Next up on the Spotlight….On list is no. 30, the with our celebration of these devoted individuals. operetta The Lady of the Slipper This month we meet VHSource vendor William V. Dorwart, fondly known as Pete, who is the restorer Meet VHS Restorationist of Victor Herbert’s Naughty Marietta. A resident of William (“Pete”) V. Dowart the romantically named Bala Cynwyd, Pennsylvania, Pete is a wonderfully eclectic and surprising individual as one learns about his primary career, his his month we continue meeting those stalwart music restoration career, his basketball career and his computer artists who are restoring the work of career. TVictor Herbert for today’s world. To continue making a certain distinction, henceforth we call these Dorwart, the holder of a PhD from the University of individuals “restorationists.” You will often hear the Pennsylvania in molecular biology, spent a full career term “reconstruction” in regard to computerizing old managing a hospital chemistry lab. Prior to choosing material. Restoration refers to “a return of something that career path, Dorwart had a significant enough to a former, original, normal, or unimpaired condition” basketball career during his BA work at Haverford while reconstruction refers more to building College (ten miles from Philadelphia; minutes from something by piecing together parts back into a whole. Bryn Mawr, Swarthmore, and Villanova) that in1963 When one works directly from existing full scores he led the nation in rebounding stats - averaging 20 and/or existing orchestra parts, he/she is not rebounds per game for that season. He was even 9 News From VHSource, LLC Vol 10 October 2011 contacted by several pro teams about perhaps playing oldest continuously performing G&S group in the with them. Of course it helps that Pete just happens to world, having done at least one G&S show every year be 6'10". since 1922.

Dorwart never took The young leading lady knew that Dorwart still any of those pro played the cello and suggested he might want to join offers but he did the 35 piece full orchestra in which Rose Valley play lots of takes great pride. He took that plunge with Rose basketball as a grad Valley’s production of the student in various operetta Princess Ida. The quality of the production pickup groups and the joy of playing with a fine orchestra launched filled with grad Dorwart on a wonderful continuing relationship students with between the really, really tall cellist and the major basketball producing organization. It was this relationship that experience. He led directly to his second career as an orchestral loves to tell about music engraver and restorer. the time before a pre-lim game prior to a Celtic - Warriors professional The cellist Dorwart is a stickler for mistakes in music game, when he happened to be in a hallway with the parts and noticed almost immediately that the parts great Bill Russell as several kids came up for the Rose Valley orchestra was using left a lot to be autographs. The kids made a bee line for Dorwart desired: hard to read, filled with note mistakes and in thinking he was a teammate of Russell. Needless to say many cases missing measures causing instruments to they had a hard time finding his name in the Celtic end in different places at the same time. A need to program that night. correct these errors sent Dorwart, in typical scientific research methodology, on a hunt for the best That explains the basketball career but remember the computer music notation software at the time. A mention of the cello? Pete Dorwart began that career friend at the music publisher Theodore Presser when he was 10, playing all through his childhood recommended the software SCORE (utilized by most school days. We all have a tendency to drop some major music publishers since 1990) and Dorwart interests when we go to college, and Dorwart’s cello began taking his first steps towards an impressive went by the wayside during his undergrad college days, second career as an orchestral score/parts restorer. not to be taken up again until grad school days. When Dorwart was definitely a pioneer in utilizing SCORE asked if he had an extra large cello to accommodate his as an individual without a major publishing business height, he simply explained that “no, my legs just fold surrounding him. Although by 1994 Dorwart had underneath and out of the way, but it does cause formed his own new company for his retirement problems with the stability of the cello.” Again in true years – WVD Press in 1994. Visit this web site for scientific fashion, Dorwart simply created his own more information on both Dorwart and the materials unique device for anchoring the cello’s peg. he has available for sale.

The question of how chemistry labs, basketball courts His first project was new parts for the G&S operetta and cello playing led Dorwart into a music engraving . Rose Valley was impressed with that first business is perhaps the most interesting of all. In 1986, endeavor and accepted Dorwart’s offer to one of his chem lab technical assistants also happened computerizing G&S on a regular basis. He quickly to be an aspiring soprano actress who had just landed moved through all but two of the classic operettas, a leading role with the Rose Valley Chorus and omitting only the two least popular – The Grand Orchestra, a local community theatre organization. Duke and Utopia Limited. He also created new parts The group, based in Media, PA, was launched on for , The Gypsy Baron and . November 21, 1907 and today continues a fine An excellent case in point for multiple errors was the reputation for both Gilbert and Sullivan productions as Rose Valley original set of parts for The Merry well as light opera/operetta. Rose Valley is also the Widow which contained over 400 note errors with 31 10 News From VHSource, LLC Vol 10 October 2011 different places where full measures were actually operetta. These parts are well on their way to being missing. It was because of this particular restoration available within the next year and will assist in that Dorwart’s most important business connection was bringing one of Herbert’s least known works back made. into the concert hall on a more regular basis. Dorwart has also just completed a new Fledermaus Dorwart is living proof that one never knows exactly which will be used by the Met next year. from where that singular connection that really launches you will spring. While serving as an adult cellist hired to augment a high school orchestra in its production of G&S’s H.M.S. Pinafore, Dorwart got to know a trumpeter who happened to work in the music library of the Philadelphia Orchestra. When the librarian heard that the Metropolitan Opera Company in New York City were looking for new Merry Widow orchestral materials, he simply alerted the librarians at the Met music library that there was a fellow in the Philly area who was a possible source of new parts. When the Met called, Dorwart tried very hard not to pass out, and was soon working with that august institution on a regular basis restoring their aging orchestral parts. His work with the Met led to another exciting project concerning Aida, for which Victor Herbert at work in NYC Dorwart did new string parts in a joint project with the When asked what he has learned about Victor Met and the Lyric Opera. Herbert while working with these original scores, Dorwart stated that “Herbert is an absolutely This restorationist came to Victor Herbert the way charming composer. I am astonished at his many have by stumbling onto the relatively new productivity and the accuracy of his full scores, given www.vherbert.com web site in the early 2000s. He the haste with which he must have worked. I can contacted Alyce Mott at The Little Orchestra Society recall finding only a single obviously wrong note in and basically asked how he could help. The next thing the Marietta score. For me the best part of doing this he knew he was faced with a huge stack of original work is hearing the stuff performed, especially at handwritten scores for the wonderful Naughty Lincoln Center, and in the case of Marietta, playing Marietta. Roughly two years later, he found himself the cello for a production with stellar singers at the best source of the fully restored original orchestrations Academy of Vocal Arts in Philadelphia.” for Victor Herbert’s most famous operetta. Since 2006, Dorwart has supplied parts for roughly seven new The world of Herbert restorationists remains productions of this famous work including the resulting relatively small as Dorwart counts recently profiled initial Victor Herbert Renaissance Project’s 2006 as one of his good friends, often concert production produced by The Little Orchestra using Winter’s translations of various operas and Society at Alice Tully Hall, Lincoln Center with operettas in his restored full scores. The other Patrice Munsel as narrator. fascinating fact about the three restorationists profiled so far is that each uses a totally different Currently he is working on restoring the original score software. Bruce Herman utilizes Sibelius, Quade and parts for Herbert’s Cyrano de Bergerac (1899) as Winter works in Finale and as we have learned today, well as a set of parts for the Victor Herbert Pete Dorwart continues to favor SCORE. While they Renaissance Project’s concert one act version of the have their different software preferences, they all same work. This unique work has no known existing work from the original handwritten Victor Herbert original libretto but now has a new libretto by Alyce scores and have significantly honed their talents at Mott based upon Rostand’s original play. NOTE: see, deciphering the composer’s musical notes, chords, VHS Newsletter Vol. 1 Jan 2010 for more information on this diacritical markings and wonderful German 11 News From VHSource, LLC Vol 10 October 2011 comments throughout. Along the way, they have also gotten a wonderful education in the creative use of Upcoming October Concerts instruments from America’s theatrical orchestrating genius – Victor Herbert. aturday, October 22, 2011 & Sunday, October 23, 2011, both @ 4 pm, Concert SOperetta Theater, will present Victor New in Shop VHSource Herbert's 1913 operetta Sweethearts at the Helen Corning Warden Theater at The Academy of his month we have added the following new Vocal Arts, 1920 Spruce Street, Philadelphia, PA products to Shop VHSource: score and parts 19103. Ticket prices: General Admission - $25; Tfor a fascinating arrangement of Lizst’s Seniors (55 +) - $20; Students - $10. Reservations Liebestraum No. 3 done by Herbert quite possibly for can be made by calling 215-389-0648. Tickets can be the Orchestra somewhere between 1898 purchased at the door. Cash and Personal Checks and 1904. You’ll also find three new songs from The accepted only! Visit Concert Operetta Theater's web Enchantress: “Art Is Calling For Me,” “Land of My site for the rest of their 2011-2012 season! Own Romance,” and “All Your Own Am I.” Upcoming December Concerts Notable September Achievements Friday, Dec. 2 at 7 pm, Saturday, Dec. 3 at 2pm ead a wonderful 5 star review for the Victorian and 7pm, and Sunday, Dec. 4 at 2 pm, Chicago Lyric Opera Company’s Mlle Modiste. This Folks Operetta Company, will present Herbert’s Rwas a fine example of what amateur operetta Babes in Toyland at The Nineteenth Century Club, groups can accomplish with full orchestra. Oak Park, IL. Tickets go on sale in October.

Saturday, Sept. 17, 7 p.m., The Kitchner-Waterloo Symphony, Edwin Outwater, conductor, presented Edwin and Friends fundraising gala and concert, featuring cellist Kenneth Olsen playing excerpts from Victor Herbert’s Concerto Number Two. This fine orchestra is located in Kitchner, Ontario, Canada.

Sunday, Sept. 18, 3pm, Broadway performer Ron Sharpe (at left), a native of Oglesby, Illinois was the featured soloist when Illinois Valley Symphony Orchestra presented a Broadway Pops concert to kick off their 2011-12 concert series. Conductor Lucia Saturday, December 17, 2011 7 pm, Sunday, Matos led the pops December 18, 3pm and Monday, December 19, concert featuring popular selections of music such as 10am and 11:45 am – the Algonquin Arts Theatre, highlights from “Showboat” by Jerome Kern, a “Kiss featuring the Algonquin Youth Ensemble, will Me Kate” selection by Cole Porter and other selections present Victor Herbert’s Babes In Toyland. Adults by Irvin Berlin, Scott Joplin and Victor Herbert. For $18 - Seniors $15 - Children 18 & under $12 more information about the Illinois Valley Symphony (Monday prices - $8.50). Visit the Algonqnin Youth Orchestra, visit their home page. Ensemble web site for more information. 12 News From VHSource, LLC Vol 10 October 2011

release of this new recording. Yes, the Herbert Alyce's Musings . . . revival keeps growing almost daily. Bravo to all who participate. ne can always tell when Fall has launched – the sales of The Natoma project had a bountiful summer as not Oboth the piano/vocal and only was it launched by Peter Hilliard with the able original libretto for Herbert’s assistance of Glen Clugston but Act III was Babes In Toyland suddenly pick completed as well as a huge portion of Act I. The up. Add to that the announcements original handwritten Herbert scores for Natoma are of pending dates for all the various at last being restored. We are still looking for a 501c3 Babes productions and one knows organization to serve as a channeling agent for a Christmas is on its way. It fascinates me how everyone grant from the Victor Herbert Foundation directly equates Babes In Toyland with Christmas – yes, it’s to Hilliard. We are also looking for an orchestra to about toys and Mother Goose – and it does have that “play down” the parts once they are created. If you song which opens Act II – “Hail to Christmas”. can assist, e-mail me at [email protected]. However, that song is the only reference to Christmas in the entire 3 hours of libretto and music. Christmas as And finally, just so you put it on your calendar really, a season certainly does not figure at all in the original really early – The Light Opera of New York will be plot. Perhaps that’s why the libretto lends itself so well presenting Herbert’s as the center production to rewrites. I am positive that no other Herbert operetta of a three operetta season in 2012. Mark Friday, has been rewritten as many times as has Babes. I’d March 16, at 8pm and Saturday, March 17 at 2pm on also bet heavily on the fact that today there are your calendars. Come celebrate St. Patrick’s Day in significant numbers of Christmas versions in place. New York City with Herbert’s passionate Irish operetta. I am pleased to be directing this production It was particularly fun to learn in August that Chicago at the Landmark on the Park, 76th and Folks Operetta has decided to tackle this work and West. And while our orchestra will be small, it will alternate it with another holiday production they have be bigger than a piano. Ah, the “Irish Have A Great already mounted – Peter and Paul in the Land of Nod. Day To-Night!” You may remember this company spent all summer receiving great kudos from Chicago area critics Don’t forget you can always share this newsletter regarding their production of Leo Fall’s The Rose of with anyone you feel would benefit from the Stambul. One of the really wonderful aspects of this information provided here. organization is their commitment to using full orchestra on a regular basis. Their artistic director Gerald Frantzen and I always have a great time talking long distance - hopefully we’ll have a chance to meet in person one of these days. If you live in the Chicago area, do place their Babes In Toyland on your holiday Two places can supply referenced back issues you may like calendar just for the pure joy of hearing an orchestra to read: The E-Book section of Shop VHSource has the perform Herbert - it will put your heart in the perfect 2009 VHS Year Book and 2010 VHS Year Book (both place for Christmas. searchable research tools); or if the issue is a 2011 one, simply login to www.vhsource.com and choose Archived Remember those great folks, John Vogel and Larry Newsletters in the User Menu. If you are not logged in, you will not see a User Menu. Moore, who undertook the major Victor Herbert unpublished/unrecorded song project last Fall? Rumor All newsletters are available free to registered users of had it and is now confirmed that they occupied their www.vhsource.com. Simply follow the link, create a user spare time this summer creating a brand new recording name and password and enjoy this newsletter delivered to of Herbert’s wonderful operetta Eileen. Not only did your inbox every month. they record the work, they did so in Ireland – what better project can that be? We wish them a speedy