Emma Abbott I

Total Page:16

File Type:pdf, Size:1020Kb

Emma Abbott I I v t i SALT LAKE D1I HERALD J 1 t HOTEL ARRIVALS I d BULLION ORE MARKET Ke 11 1 I I SALT LAKE February 26 18S4 THEATRE Preliminary Announcement 4 le t latest Quotations OLIFT HOUSE- I i Col J Dillaboujrh J L Manger Denvor W H J 4 t rcorrected Daily by McCORNlCK Hopkins F Hicks Bingharn J Bogan Park City ft Reynolds Challls 0 r SILVER fi I 12iti per ounce J Lf Sl c WHITE HOUSE Messrs Caine New York and Clawson have I In 1 J9 the honor to announce that they have 1 Sat Lake G HapT Chicago Mrs Jones Nevada D entered POSITIVE ENGAGEMENT In Colman L E into arrangements with COL J H MAPLESON FOR ONE WEEK ONLY TO CULt Ii t LEAD Riter Tintlc W D Robbins and MENCE MARCH 10TH wife Spanish Fork T StarHn Provo OF THE RENOWNED 1ft j- c 4 00 per 100 Ibe J for the Appearance o- j New York Griffin A Ha J Fords A Heslem J Casey g In 36 00 per ton w D Angeles t Lake ore Dsmeron Frisco Morrlf Los J o In Salt 40 00 II iV Grand W 8 k c bullion Hibblt Junction Pierce American Fork T B Graves South Cotton t t Receipts wood J M oilf Gunnison E Hooking P M Yesterdays Brandt L E Riter Birgham F M Smith fHER Draper Cornick d Co MAJESTYS i i t Bullion 7950 00 VALLEY HOUSE- Emma n 0 4 CarE Han5ner Abbott J 950 0 J P Gill Sauau ky N Y D Marphall John Total Perry New Orloaus S Ives New Gate J rew Rhodo Island vj D Llojd Bi + on R D- OPERA COMPANYQ- GRAND OPERA COMPANY IT Hal Nov York J Wrsterpj een Pniladoljhia i r COMMERCIALl J N Busseli Bollver Mo S J Haletrotn Chicago W J toes A Knu son Portland The most popular and successful Lyric Organisation Oregon J Ire son AlSion Id thoJ Smith in Americ now Helena J D Wallace Bozcmm R G Mrt playing the most successful engagement ever rte gStoehs and Other Markets thews Memphis r JaVonr ZaaesviIe 0 E known in San Francisco t i- ln1J Anderson Echo R Mnley Eagle Cau > on d J FOR X5T iJ K OIs Wool Week CnlsaRo Ij P Blackbur M Rcttr- d NIGHT utah inera ille W E Ba ett Logan W L Me Composed of the following Illustrious Artists LIKE FEBRUARY 25 Donougb Chejenne f t SALT b to 15- Prima Donna Sopranos Prlma Donna Contraltos f iu good condition I3 f f i a F prinl1 WALKER HOUSE Thursday Marei Wbl 13 14 6th 1884 j- i1 4Jj poor to j C j H D VcCod and wife MJss E M Nee P L EMMA ABBOTT t godcondition 13 a11i ZELDA SEQDIN M Bac t eprio g BruntwHll E A Tilled Kcw York W A Queen of English Opera Americas Favorite Mezzo Soprano llglit v 1 1 fall tIiu amba Hark Wona J E Lar n Pcston 0 HI On r W h1o IS D H Heed F da Scott which occasion will be performed DONIZETTIS OPERA JULTK ROSEWALD grades good condition Odrn uluvirForl From MARIE HENDLE lambs heavy J T Morton Omaha the Royal Operas of Berlin Vienna and ll White all and and Dresden and condition 11 to 12 CLARA BONHEMR good 11 CONTIJSENPAL HOTEL- MME condition I SINICO 10 A M BIgeW Frisco J M WelshauF H w Late of Her Majestys and the Royal Italian IriSnaAgoodcondKion W HCP D H H 09 Johnson L Fhur Eocles Opeia London i Baritones and Basses black Spencer Ogden G r Rathford Paris W R t M l Kl g J B Jackson K K Suoot J W Slrln Tenors I Wool tvre Chicago KE ttevans Now Yrk T H SIGNOR Philadelphia Valley r RE- TAGLIAHIETRA steady un Thomas Pleasar Junction Hon A UCA The WorldRenowned Artist 26Wool Paddock and wife Nebraska J R Cuff Fort lii A1IMERI R SIGNOlrnBRINI I Philadelphia J Steel Wyr D U McLaughlin City C The Cnangcd Park R L Renowned Tenor WM BRODERICE t Ilriwood Provr G L Godfrey DesMola B 1 SIGNOR BALDANZA WALTER ALLEN- Boston Wool The Great Italian Tenor Hobuto The in moder- SIGNOR OAuiPOBELLO Boston 26Wool continues VICTuR unchanged prices OVELLO Late of Her Majesty Carl Rosa and European ate demand THE LIVER AND ITS FUNCTI- dgardo Signor VICINI WM Opera Companies Enrico Aeton CASTLE U Wool ONST Signor GAL A SSI 1 ho Popular Favorite j London J5T has baooae a well established fact that the Raimondo Signor LOMBARDELLI t bales of > larger portion of diseases to which the human 1 London day 9986 vr I Arturo Signor 26To were sold family subject arise in the first place from BIELETTO Port Phillip and Sydney S some derangement of the Liver This organ Normanno Signor DE Is not only the largest but at the same time one of YASOHETTI Grand Chorus most important venous blood on re¬ Alisa and Orchestra 1 the The its MJle VALERGA- t Money Market turn to the heart passes through this organ and AND HERR H ROSE ALD 1 eapv- in ita passage the Impuritlesai also the secretions J t DIRECIOR OF THE MUSIC New York 26Money market which are necessary for digestion as well as for a Lucia Mme ETELKA GERSTER mercantile paper 4 to 5U Cathartic to assist in the renewal of waste mate ¬ i H j 2j prime rial o are eliminated from thisit is easily seen Her first appearance 0 sterling exchange bankers bills 864 that the Liver liable to get out of order to a demand 4897 greater or less extent and when this occurs it is In a Repertory f r sterling exchange ¬ of Dnequiled Brilliance impossible for it to properly fulfil its office of re- Director of the Music and Conductor Signor ARDI including the Famous Opera t- moving nIl objectionable matter from the blood rI Wall Street but allowsit to pass through carrying with it the MIGNON t c i poison of which it should have been relieved Verdis Masterpiece t IL TROVATORE 25 Governments steady With impure BFSHERMANS Tile l r New Tort blood thewholoeys- Orchestra and Chorus of Her Majestys Opera numbers upwards of Donizettis tt opened trong hisrber ye ifiimr PRICKLYI ASH LUCIA AND LINDA Flotows stock market tembecomesaTeot ICO ONE HUNDRED 1OO- 11 of the day rs tracing wis aio edand no organ can < s 1 the result perform BETTERS MARTHA Wallaces MARITANA k most a general decline compared with properly its The result of ycnia twenty function unless it is of study Balling c the closin prices lass evening supplied with PURE- medical research w SOMNAMBULA7- tffo out of the Tjoai tcliv stocks are BLOOD to maintain nod practice Dr CO t itsetreugthSotho BF SHEKMANlts Gounods FAUST Massas lower though on y four of them showed Liverbocomes nil originator and AUK AND VIRGINIA ¬ lif over 1 ppr cent Cen importantand success z a decline vz when one its and Adolph Adams KING FOR A DAY 1 Wabieh ¬ wherever tral Pacific Northwest IK has feel used isauf- PRICES OF 44 ADMISSION pfd IMi Hid Omaha old 1 > AH cthdr ing of being- iicientguor 0 Only five continually antyfor its declines were fractional tlredworn merit out is con ¬ c stocks were higher than las night and T DrastlcPnr Orchestra and Parqtte te 5 First Circle 35 and S4 E5 Notwithstanding this extra > rdtnsry array of distinguished withtendeu gativea and these fractional 1L7Ht that class Second Circle 3 and S2 50 Third Circle 150 and 61 lalent and the Enormous Expense attending the Engagement t the cy to Piles- 3 of remedies Prices will be as follows i Stocks Headache BI TE can bave F Sao Francisco SickStom but one af- ¬ i 26 fect GENERAL ADMISSION TWO DOLLARS SEASON TICKETS for Six Operae Orchestra Srn Frhriaco ncb8 allow- CUR E S la by their and First Circle Alta 134Grand Pizei5Ba- Complex1 ac- ¬ DISEASESOfIHE violent 51000 and 8300 1 1 iI N M Eruptions- tion to de GENERAL lcber range ADMISSION 200 8150 50c t Vii ofSkiaetc i and Stage Boxes Beile Martin hlte75- Iheymay bo LTVE R weaken tho Private X30 and 40 Each t B Isle40B 2 Mexican 2U sure their- system ImoE No Extra Charge for Ziiverlaont r reserved Seats Bodie Con 93 a Mt Diablo 2 forder and KIDNEYS PrJcMyAai 234- b remedy is Sitters acts- NOTEParties in the country wishing Reserved Seats can Oalltorni 25 NSveio STOMACH obtain Season i eaired to directly on- them by forwarding money to ¬ Tickets now on sale at Moore Allen Drug Chollar 2M Ophir 134 ns31stnl1tre the Liver W A Rossiter Theatre Box Office com- Cod Store Free r AN- List suspended Con Pacific 45 PototiL 1M relievins Kidneys mencing Monday the 3d ° fIG Savage 85 Itself of all DBOWKIiS r Stomach G Sale of Single Con Vs 30 accumul- ¬ Seats commences to ° Nevada 3 and- Bowels d- Grown ont l Sierra ations ic a mild open for apr Day 2iis Union Con 334 reatareitto RSA yet Box Office sale of Reserved Seats Saturday March 1st its original L OSl effect i I Con 3 Utab 2 BY3 + manner 1884 at 10 a m fei7 Eureka Strength and is an G C J3 Yellow Jacket 2 and Vigor ALLDRUGGISTS pleasant ON 15 For all the- tho taste as OR ABOUT MARCH s complaints j anycordlal Uailroad Stocks of this kind andie SB- there is no- PRICElDOLLAR easilytafeea New York 26clo3e medicine children Governments Mich Central 9243- that equals as adults m W0 Nor Pacific 21 PRICKLY ASH BITTERS is o medicine of rare and intoxicating THUS I merit not an cane Clearance EIEJijjW- 46 purely vegetable In composite Grand 4Us coupoos114 N Pac Prel and being its Sal- 12H 119 usOO at all times with beneficial results It is not Is Northwestern claimed as a cureall but derangements of Pacific 95s129 N YU 116M- the organs mentioned it is a specific and as AND AweriC5n ex 96 Or R N 92 a BLOOD PURIFIER ranks above all other pre-¬ parations Ask your druggist for it and give its 11- Canada Pac 55 Oregon Trans 20M raLrtrial If he bos none on hand oik that it be or Canada South 5438 Oreg Im Co 43 den dforyon Remove Central 60 Pactt1e Mail PRICKLY ASH BITTERS CO a Pac S- Y Oa B Q124 Panama 98 SOLUgBOPIUETOBS eSIMON BROS Del STg LOUIS KANSAS CITY MO ill L W12n Rock Island122 1 D R G 1931 St Paul 914 To New Erie 26 Texas Pacific 21 ITT TIEEE Its Elegant and Commodious Building H St Union Pacifies ARE AGAIN FIELD Joe 38i 804 txi Kansas Toz 21 U S Sg SALT LAKE THEATRE > U Ex I Like Shore102 Wells FArJZo110 i ° L N I 82 The Ladies who have availed themselves of our low figures before Corner
Recommended publications
  • Adelina Patti and Clara Louise Kellogg in the Chicago Tribune, 1860-1876
    DOCUMENTING DIVAS: ADELINA PATTI AND CLARA LOUISE KELLOGG IN THE CHICAGO TRIBUNE, 1860-1876 Kathryn Jancaus A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC December 2020 Committee: Eftychia Papanikolaou, Advisor Ryan Ebright © 2020 Kathryn Jancaus All Rights Reserved iii ABSTRACT Eftychia Papanikolaou, Advisor When Swedish soprano Jenny Lind (1820-1887) came to the United States in 1850, the ecstatic craze surrounding her arrival belied a larger trend which was taking root among the American press and public: a fascination with the lives of celebrity opera singers. One of the Lind enthusiasts was a college student named George P. Upton (1834-1919), who later became the music critic for the Chicago Tribune. In his work over the following decades, Upton continued to take a vivid interest in the lives, careers, and personalities of prima donnas, writing about them with an intensely personal style that was common in newspapers of his time. As journalists for the Tribune provided news about opera stars to their readers in Chicago, they not only shaped the public images of these singers but also promoted the appreciation of classical music as a cause for civic pride in their relatively young city. In this study I examine how George P. Upton and other journalists published in the Chicago Tribune wrote about two star sopranos of the mid to late nineteenth century: Adelina Patti (1843-1919) and Clara Louise Kellogg (1842-1916). I bring together newspaper articles from the years 1860 through 1876 and use secondary literature to place the critics’ approach in context.
    [Show full text]
  • Appendix 6: Emma Abbott Grand Opera Company. Sample Itineraries (1879-80; 1884-85; 1889-90)
    Appendix 6: Emma Abbott Grand Opera Company. Sample Itineraries (1879‐80; 1884‐85; 1889‐90) 1879‐1880 Season. Personnel: William Allen, William Archer, William Castle, William Connell, E. Field, Stoddard Houghton, Tom Karl, William MacDonald, Mr. Maurel, Hugh Nelson, William Randall, Ellis Ryse, Edward Seguin, Alonzo Stoddard, Arthur Tams, Walter (or Wallace) Temple, George Weeks. Emma Abbott, Emily Gilbert, Therese Marcy, Pauline Maurel, Julie Rose, Zelda Seguin, Marie Stone. Musial Dir: Caryl Florio (William James Robjohn); managers: Charles Pratt and James Morrissey Date Venue 8‐20 September New York City. Grand Opera House 22‐27 September Brooklyn. Park Theatre 1‐2 October New Haven. Music Hall 3‐18 October Unknown. Providence / Hartford/ Springfield MA /Worcester? 20 October‐1 November Boston. Park Theatre. 3 November Providence. Music Hall (concert) 4 November Unknown. 5‐6 November Portland, ME. City Hall 7‐8; 10‐15 November Unknown. 17‐22 November Washington. National Theatre 24‐29 November Philadelphia. Walnut Street 1‐6 December Pittsburgh. Opera House 8‐13 December Cincinnati. Pike’s Opera House 15‐20 December Chicago. Haverly’s Opera House 22‐27 December St. Paul. Academy of Music 29 December‐3 January Topeka, Kansas? 1 January Rock Island, Illinois. Harper’s Theatre 7‐9 January 1880 Kansas City. Coates Opera House? 10 January St. Joseph, Missouri. Toodle’s Opera House 12‐17 January St. Louis. Grand Opera House 19 January Unknown. Louisville? 20 January Zanesville, Ohio. Opera House? 21‐22 January Unknown. 23‐24 January Columbus, Ohio. Grand Opera House 26‐30 January Louisville? 31 January Evansville, Indiana 2‐7 February Memphis, Tennessee.
    [Show full text]
  • Leverage the Global Power of Coldwell Banker® Contact Your Neighborhood Specialist Today
    AboutTown Magazine PRESORT STD City of Edina U.S. POSTAGE 4801 West 50th Street PAID Edina, MN 55424 TWIN CITIES MN EdinaMN.gov Permit No. 3932 AboutTown ***ECRWSS*** POSTAL PATRON CAR-RT-WS Leverage the global power of Coldwell Banker.® Contact your Neighborhood Specialist today. Curt Adams Anne C. Elliott Jerry and Stella Rezac 612-701-7376 612-327-3027 612-720-6942 Beth Andrews Kathryn Haymaker Steve Schmitz 612-801-2041 612-203-1486 952-484-6045 Emily Bradley Isaac Johnson Wade Thommen 651-792-5340 612-280-9991 952-994-2035 Tom and Kari Cartier Seth Johnson Mike Weiss 612-910-9556 612-810-5124 612-747-5463 Daniel and Julie Desrochers Karen Moe 612-554-4773 612-418-6840 Jerome Nelson NMLS #340544 Tel 952-844-6042 Guaranteed Rate Affinity Edina Regional Office, 7550 France Ave, S STE 100, Edina, MN 55435 Real estate agents affiliated with Coldwell Banker Burnet are independent contractor agents and are not employees of the Company. ©2017 Coldwell Banker Burnet. All Rights Reserved. Coldwell Banker Burnet fully supports the principles of the Fair Housing Act and the Equal Opportunity Act. Operated by a subsidiary of NRT LLC. Coldwell Banker and the Coldwell Banker Logo are registered service marks owned by Coldwell Banker Real Estate LLC. Celebrate Edinborough Park’s 30th Anniversary Oct. 6 AboutTown Page 26 Official Magazine of the City of Edina AUTUMN•2017 AboutTown Table Of Contents Volume 28, Number 4 Circulation 25,000 Calendar Of Events ..............................................................1 Autumn 2017 Autumn Calendar Highlights .............................................4 Official Publication of the EdinaMN.gov A Word From The Mayor ...................................................5 City of Edina, Minnesota Forgotten Opera Sensation Emma Abbott Bankrolled 4801 West 50th Street Early Edina Development ..................................................6 Edina, Minnesota 55424 It’s Not Only Neighborly ..
    [Show full text]
  • Exploring the Impact of the Railroad on the Development of Musical Culture
    GOING OFF THE RAILS: EXPLORING THE IMPACT OF THE RAILROAD ON THE DEVELOPMENT OF MUSICAL CULTURE IN KANSAS CITY, MISSOURI (1869–1905) A THESIS IN Musicology Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF MUSIC by GABRIELLA RODERER B.M., Manhattan School of Music, 2012 M.M., Bowling Green State University, 2014 D.M.A., University of Missouri-Kansas City, 2021 Kansas City, Missouri 2021 © 2021 GABRIELLA RODERER ALL RIGHTS RESERVED GOING OFF THE RAILS: EXPLORING THE IMPACT OF THE RAILROAD ON THE DEVELOPMENT OF MUSICAL CULTURE IN KANSAS CITY, MISSOURI (1869–1905) Gabriella Roderer, Candidate for the Master of Musicology Degree University of Missouri-Kansas City, 2021 ABSTRACT Kansas City, Missouri, is a musical oasis in the United States. In addition to being considered one of the four original jazz centers, local audiences also enthusiastically welcome art music and experimental music of all kinds.1 This deep appreciation for music and the arts can be traced to the development of the railroad in Kansas City and how it connected the city to the artistic lifeblood of the country. This thesis explores the existing research about the establishment of Kansas City as a railroad hub and the subsequent cultural blossoming experienced in the city at the turn of the century. This thesis project makes a connection between the railroad and the growth of music culture. The development of various aspects of music in Kansas City including, band, orchestra, opera, theater, vaudeville, music education, and music publications which the research in this thesis indicates is traced back to the societal impacts the railroad had on the frontier town in the last three decades of the nineteenth century.
    [Show full text]
  • EARLY DAYS of GRAND OPERA in HOUSTON and GALVESTON by Joseph S, Gallegly *
    EARLY DAYS OF GRAND OPERA IN HOUSTON AND GALVESTON by Joseph S, Gallegly * Although the first professional dramatic performance in the Republic of Texas took place in 1838, it was almost thirty years after that before an opera troupe appeared on a stage in a Texas city. There are a number of circumstances that could have accounted for this delay. When the great Madame Malibran (Signorina Garcia) and her father introduced Italian grand opera to New York in 1821, Texas, then a Spanish colony, was hardly more than an unconquered wilderness with its few tiny settlements scattered far and wide over its broad domain. It is doubtful that the Garcias would have been interested in a visit to Texas even after San Jacinto, as many noted players were; the Garcias had wrinkled a contumelious nostril at the thought of penetrating the Eastern interior beyond New York City. And in the 'fifties, after Texas had acquired statehood, and Jenny Lind, on her memorable excursion through the States, came as near the former republic as New Orleans, cultured Galveston, the leading city of the state at the time, lacked both impressario and theatre of proper appoint- ments for the accomnlodation of orchestra and singers. Opera managers were as circumspect in those days as Mr. Bing is in ours; only a Caruso in the most populous centers has ever made grand opera pay in the United States. The country has no Vienna or Milan. A small-town playhouse manager must indeed be bold and desperate to make the hazardous venture of booking a grand opera company for a season at his theatre.
    [Show full text]
  • Opera in English: Class and Culture in America, 1878–1910
    OPERA IN ENGLISH: CLASS AND CULTURE IN AMERICA, 1878–1910 Kristen M. Turner A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the College of Arts and Sciences. Chapel Hill 2015 Approved by: Annegret Fauser Mark Evan Bonds John Nádas Katherine K. Preston Philip Vandermeer ©2015 Kristen M. Turner ALL RIGHTS RESERVED ii ABSTRACT Kristen M. Turner: Opera in English: Class and Culture in America, 1878–1910 (Under the direction of Annegret Fauser) European grand opera performed in English translation was a potent cultural force in the United States at the end of the long nineteenth century. Analysis of business correspondence, theater records, advertisements, reviews, and social commentaries, reveals that rhetoric about opera engaged with issues of class, race, gender, and nationalism. Critics identified foreign-language grand opera as a high art, suitable primarily for the upper class and educated listeners. In contrast, writers viewed the same operas sung in English as entertainment for a middle-class audience who wished to enjoy opera in the vernacular performed by American singers. Southern small towns, such as Raleigh, North Carolina, used English-language opera and art music to reinforce racial boundaries and to project a civic identity as a refined, middle-class city. The African American community, as a result of segregation and oppression, had different conceptions about art, class, and culture than the white majority. African American writers framed English-language performances by the all-black Theodore Drury Grand Opera Company as a way to resist racial tyranny by emphasizing the skill of the troupe’s singers and the sophistication of its educated black audience.
    [Show full text]
  • Zensur Und Political Correctness Auf Der Opernbühne Von Michael Walter
    Zensur und Political Correctness auf der Opernbühne Von Michael Walter Zensur Sozial- und politikromantische Einbildungen haben eine lange, vielleicht sogar unendliche Lebensdauer, vor allem – aber nicht nur – in den Massenmedien. Zu solchen Vorstellungen gehört, dass die Oper vor allem im 19. Jahrhundert eine revo- lutionäre und systemkritische Wirksamkeit entfaltete oder die Komponisten dies zumindest beabsichtigten: Aubers Stumme von Portici etwa hätte 1830 die Revo- lution in Brüssel ausgelöst. Weil die Oper ein Revolutionsduett enthält, müsse die Oper revolutionär und gegen das monarchische System gerichtet gewesen sein. Ver- dis frühe Opern seien gegen die habsburgische Besetzung Italiens gerichtet gewesen, hätten Propaganda gemacht für den Risorgimento und politisch aufrüttelnde Musik sowie verdeckte politische Botschaften im Text enthalten. Mozarts Figaro sei eine Freiheitsoper knapp vor der Französischen Revolution, und auch im Don Giovanni gehe es irgendwie um Freiheit, weil schon in der ersten Szene der Diener Leporello aufmüpfig und politisch davon singe, er wolle auch endlich mal ein Edelmann sein. Die Opernzensur, so wird umgekehrt geschlossen, sei dazu dagewesen, all dies zu unterdrücken. Und die freiheitsliebenden und aufgeklärten Komponisten hätten einen steten Kampf gegen die Zensoren zu führen gehabt. Das hier skizzierte Bild der Operngeschichte darf man, auch wenn es immer noch in wissenschaftlichen Kontexten erscheint, als groben Unfug bezeichnen. Es ist schon lange erwiesen, dass Aubers Stumme von Portici 1830 nicht die belgische Revolution ausgelöst hat1 oder dass Verdis Opern der 1840er Jahre keinen politischen Inhalt hatten und seine Melodien das Opernpublikum nicht zum risorgimentalen Protest verleiteten2. Und Mozarts Don Giovanni und Figaro sind problemlos und von der Zensur unbehelligt an deutschen Hofopern aufgeführt worden, können also nicht 1 Vgl.
    [Show full text]
  • Cincinnati Opera Festivals During the Gilded Age
    The Illustrated News MUSIC HALL, 1883 (Cincinnati), Feb. 3, 1883 First Act of "Lohengrin" (Drawn by H. F. Farny) BULLETIN of The Cincinnati Historical Society April 1966 CINCINNATI Vol. 24 No. 2 Cincinnati Opera Festivals During the Gilded Age by JOSEPH E. HOLLIDAY The Gilded Age, whose negative aspects of crass materialism, poor taste and graft in political life have been so emphasized, was not without its positive achievements.1 Some of these were in the field of scientific development and cultural striving. The 1870's and early 1880's were years of great progress in the cultural development of Cincinnati, particularly in the field of music. That city, with a popu- lation in 1870 of 216,239, was the most populous city in the state of Ohio and the second in size in the west. Many of its civic leaders had high hopes of it becoming the musical center of the Middle West and their hopes were not unfounded. Choral societies had long been a part of Cincinnati's social life, especially among the German element of the population. The May Festivals, using the membership of these societies, were inaugurated with great success in 1873. Music Hall, probably the finest audi- torium in the country at the time it was opened in 1878, was built irThe Gilded Age, a term originally coined by Mark Twain, has come to be generally used by historians to denote the social life in the United States from 1865 to 1890. See H. Wayne Morgan, ed., The Gilded Age: a Reappraisal (Syra- cuse, 1963).
    [Show full text]
  • A Survey of Professional Operatic Entertainment in Little Rock, Arkansas: 1870-1900 Jenna M
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2010 A survey of professional operatic entertainment in Little Rock, Arkansas: 1870-1900 Jenna M. Tucker Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Tucker, Jenna M., "A survey of professional operatic entertainment in Little Rock, Arkansas: 1870-1900" (2010). LSU Doctoral Dissertations. 3766. https://digitalcommons.lsu.edu/gradschool_dissertations/3766 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A SURVEY OF PROFESSIONAL OPERATIC ENTERTAINMENT IN LITTLE ROCK, ARKANSAS: 1870-1900 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts In The School of Music by Jenna Tucker B.M., Ouachita Baptist University, 2002 M.M., Louisiana State University, 2004 May 2010 ACKNOWLEDGEMENTS First, I praise God for the grace and mercy that He has shown me throughout this project. Also, I am forever grateful to my major professor, Patricia O‟Neill, for her wisdom and encouragement. I am thankful to the other members of my committee: Dr. Loraine Sims, Dr. Lori Bade, Professor Robert Grayson, and Dr. Edward Song, for their willingness to serve on my committee as well as for their support.
    [Show full text]
  • W I N T E R • 2 0
    Race & Equity Task Force Work Continues AboutTown Page 18 Official Magazine of the City of Edina WINTER•2018 AboutTown Table Of Contents Volume 29, Number 1 Circulation 25,000 Calendar Of Events ..............................................................1 Winter 2018 Winter Calendar Highlights................................................4 Official Publication of the EdinaMN.gov City of Edina, Minnesota A Word From The Mayor ...................................................5 4801 West 50th Street Forgotten Opera Sensation Bankrolled Early Edina Edina, Minnesota 55424 Development .........................................................................6 952-826-0359 It’s Not Only Neighborly ... It’s The Law .......................12 Editors: Jennifer Bennerotte & Kaylin Eidsness Sign Up for Emergency Notifications..............................14 Designer: Katie Laux Race & Equity Task Force Work Continues With Contributing Writers: Krystal Caron, David Katz, Jake Citizens League ..................................................................18 Omodt, Debbie Townsend and Dawn Wills. City Makes Home Energy Audits More Photographers: Michael Braun, Katie Laux and Affordable For Residents ..................................................22 Dietrich Nissen Behind-The-Scenes Duo Answers Edina’s Publisher: City of Edina Legal Questions ..................................................................24 About Town is produced by the City of Edina. To advertise in About Town, call Barb Pederson, Checks for Utility Bills to be Processed
    [Show full text]
  • Emma Abbott: a Forceful Character Eimsa A.Bbott Was Born in Chicago on the 9Th Decenber 1850
    32 PAST, PRESENT and PROPOSED Uo.5 In ny last article I lrrote about the Grantl Opata House which stootl in San AJrtonlo, opened by the American singe! EDt[a Alrbott with her opera company which for some yeals toured the Ulited states anal CaJraala ([ewsletter 75). I thought the lady ln questlon sounaletl fascinatlag and although I only had a little information about hei lt woulat have maale the Pi.ece a-bout the Gra[d too long for that Newsletter antl so I ProPosed to wrlte about her in a later one. Aftea further lesearch here it ia. eeeeeeeeeee€Eeeees6eeecgeeBeeeeS00ee0eeeeeeeeee6Ge6eeeeeseeeeeee6 Emma Abbott: a forceful character Eimsa A.bbott was born in Chicago on the 9th Decenber 1850. Eer father was a coal arerchant and to supplement hia incone, he gave iusic lessons. Reali6lng hi6 tlaughtel's taletrt at an early age he taught her to play the piano alrd guj.tar, although there was not enough nroney for moxe se.ious 6tualy, The faoily was not rlch but certalnly not as pool as E$ma matle out. Ia later yeals 6he would tell of a deprivetl chtldhootl, of being in lags ajral going balefoot. By the age of thirteett she r.Ias also glving gultaa lessona and at sirteen had acquired a Post as a sclrool teacher. Apparently she bad a pleasing if untrainea voice anal foa a brief tine was a soloist in a slmagogue. She then joined a concert company which 6oon disbalrdeal. Stlll in her teens she toureal Mlchigan anil the aaljoining states giving what was krlowll as tea concerts in the hotels, acconpanying herself on the guitar.
    [Show full text]
  • Earzorer Iit 1 ST Ixf Other Jujtj PB Jci70lu I
    F ETHi1- iT = I 1 jj- j H III I 1884 2 SALT LAKE HERALD SUNDAY DECEMBER 2 f J = d THE to = > tjj be docked for the two or three MEDICAL BANKIN- Y9uld I Cl r I DRAMATIC AID LYRIC days spenton the train between here f and San 5 j the salaries of the < body Franc range 14 to we are informed from 1 i- 19 this Q GMcCORNICK per week and out of J C- hotel bills paid rs L Dramatic Club have to be Wtuww t 4J- I The Home i- Chorus and orchestra agreed that they p OnBail would not tolerate the reduction com- ¬ fQv A nt f bined their forces and sent for Mr Ou f OBANKERS t 8 Icz 181 < f LLT LAD > OTY UTAH AND Pratt the manager it was then i i qpJ oclock and the front of the house was ° < HATTJY IDAHO I I i J- THE ABBOTT COS B BELLIOX rapidly filling a spokesman informed MT c j Mr chorus nor or-¬ t A< q- Pratt that neither General I4 ou c Oo rwaaot a Banking Business chestra go to places unless 43 T < Vq- would their Av y 4 <90 full wages paid Mr i for the week were Ii 0- given gears Theatricals Xislson the announcement- v o C- Careful attention to the ule of Ore New Pratt made the startling o- 1i Bullion We Past WeekReview of that he and Mr NVetherill proprietors- N1 4t- nd solicit Conaiei I TenorThe S 1tr J menta guaranteeing the i i IQ 4 Artists Chorus Strike of the company had lost 7000 since iO I- Highest Market 1 the f the season opened and that chorus and a 9o t- Prices rrt > L i i J Qo orchestra would be conducted to the y 0 A o 0 h- 3olfebtfoa made r limits of Hades before he would yield to 0 p c v i ki i Q with prompt return v I 3 < favorable
    [Show full text]