Opera'sopening

Total Page:16

File Type:pdf, Size:1020Kb

Opera'sopening BRILLIANT ARRAY OF TOILETS. HOW IT ..~ 'j '. APPEARED TO "CHOLLY." Tulle a Danseuse's Sleeves, Resembling First OPERA'S Fluffy Petticoats, a Striking Night of Cp:ra Offers an OPENING, ot with a Novelty. Study Society InterestingBig S, as Seen on Farade. Every other woman wore tulle at thi opera last night. Not tulle gowus, to bt ; 'I t ' > All society Is divided into three parts. SOCIETY'S PARADE. LS^ * sure, for these have long been relegateil tc i \ the centre, the circumference and the oblivion, but tulle sleeves, a sort of ballet fringe. At least it is so skirt arrangement 011 their shoulders | at the opera. There The was Metropolitan out like the a time when the exact position of th3 sticking fluffy petticoats of a premiere danseuse. centre was absolutely certain, and the the length of the radius was definitely Sitl, by "First-Crowded Mrs. Prescott Lawrence had very mucl j But that was when the fine world knelt at inflated ones on her maize satin gown the feet of Mrs. Astor and th* made with one accepted Nighters." of those new, stretched measurements of Ward McAllister. on which takes the bodices, drapery place Since then the times have and of of the fulness in changed darts, disposing witch we have changed with them. To-day the ing folds, caught up w 1th jewels. In hei Melba and the Two De centre has shifted and there is a case it was a large diamond brooch. A suspicion that it wobbles aboutwellgrounded lliirh Princess of Wales eollnr of nonria nmni in the to such a degree that nobody will dare to Reszkes, "Faust," around her throat, and a pair of tulle say just where it is. In this respect it Is Musical Attraction, Psyche wings were poised in her hair, like the North Pole; we can get In its fastened there by a diamond pin. neighborhood, but we can't touch it. The In Mrs. Levi P. Morton's box were two ol ^_ circumference, however, is just about as her with These Artists in Fine Voice, but daughters, provided these airy Inelastic as formerly, and the fringe is not - 4 arm clothes, and double mercury of silver a whit less abundant or tentative. the Audience, Just as Last gauze on top of their high coiffures. Miss In the hun£ for the centre in the Edith and Mis Lena Morton were dressed Opera House last night, someMetropolitan Year, Mild in Applause. in shell pink satin, with pink tulle sleeves, of the more old-fashioned swells still and had huge bunches of violets pinned on their lorgnettes on the Astor box,focussed Brillant of Costumes in the their bodices. Mrs. Morton was very where the beautiful young wife of John Array Boxes, gowned In cardinal satin, set offeffectivelyby a Jacob sat and smiled at the homage paid but Some Well-Known Faces point lace garniture on the waist, and her, while her mother-in-law and husband diamond ornaments. Instead ofnumerousa nodded approvingly. Others, with a thirst Missing. necklace, she wore a black velvet band for new sensations and a longing tor new around her throat. conditions, looked long and earnestly at NO VANDERBILT THERE, OF COURSE Mrs. Hermann Oelrichs, in pale blue eu~nrsiiu^ r* TS'V,K,-.*- satin, was one of the handsomest women were no signs of a coronation there. Mills in the Opera House. Her sleeves were of In the Ogden Box. But the Ogden MiUses, the Whitneys and tulle, of course, but made in round puffs And still others fixed their gaze upon the Numberless Other Candidates, for instead of standing out iike almost Ogden Mills box. and there they found at in the World else. Two bows stood guardeverybody's least one woman who has no doubt as to Supremacy where the throne of the social world is, or of Fashion. thorn, nnrl spompd to ho n onntlnno-befnro tion of the drapery which answered the who sits upon It and wields the sceptre of The Cr.stj double purpose of a bertha and a the queen. But around Marguerite Mme. Melba for jewels. A very wonderfulbackgroundblue the wabbling social centre Marthe Mile. Bauermeister feather arrangement loomed up on her there are many proud and rebellious spirits; SiebelMme. Mautelli and if one is she can be Mephistophele M. E<i. De Reszke head, a concentrated pompour. as It were, any queen only Valentin M. Lasealle made up of ostrich tips and aigrettes. certain that she is queen to herself. Wagner Sig. Viviani of around her When the was on, Faust M. Jean De Iteszke String* after string pearls performance Conductor, Sig. Maneinelli. neck almost filled up the "decolletage," the women in the opera house forgothowever, and served as a kind of yoke. ineir rivalries ana meir jealousies. v\ neu Mrs Calvin S. Brice, accompanied by her x Jean de Reszke sang, the maidens went THE opera season opened last night " two daughters, occupied her box. She was ^ into raptures and could scarcely contain of "Faust." with the production in which seemed to // themselves, and when Edouard bellowed seat in the Metropolitan gowned ruby velvet, ^ Every be let in in panels on her skirt, and make I out his Brobdinguagian bass the matrons Opera House was occupied, and every all of her not taken with lace crowded. On the corsage up and the widows split their gloves. It's available vantage point and diamonds. I an run odd how maidens to tenors men and women stood ten SCENE IN A BOX AT THE IAETROPO L1TAN OPERA thing main floor deep, Miss Helen Brice sat In shadow of the MOUSE LAST EVENING. and women of matrimonial behind the last row of experience tightly jammed box most of the evening, looking like a prefer bassos. chairs. cameo cut all in white against its deep And when you had passed the Saered Gateman, you heaved a sigh of mellow Close by the Astor box sat Mr. and Mrs. The boxes were filled with the swell folks At the Alan Dale. red velvet hangings. Miss Kate Brice was Metropolitan..By relief, and turned just one contemptuous, pitying glance at the ones R. T. both with hair of snowy New the orchestra assembly was struggling Wilson, of York; in yellow satin, and had a bunch of scarlet outside. You drank in heavily perfumed air (which was very bad for whiteness and both attention made of the genteel element sesame!" crierl Maurice Grau at the your paying rapt up principally flowers on her left shoulder. "Open, Impresario Metropolitan Opera lungs), and as you snatched a pink pro gramme from the pink mound, you to the opera. In all the dazzling, and the balconies were thronged with as House last and behold it was even and so. The In the Frenchiest of gowns, usual, night, unequivocally lovely, began to feel that you were "in it" once again. People are not in a hurry to money-marked horseshoe of tradespeople and poor musicians. feathers lnrff« nnrt c/.arlot- mnmont li.il «.!ro^ of Inrf' TI,o T..l scintillating, clerks, combining lace, satin, jewels, and get zo meir seats at the Metropolitan, because anticipation is always boxes there were no truer devotees came to hear the some came ian be said to "touch the of this suave and parterre Borne opera, fur. Mrs. Whitney Warren sat in Mrs. opera may spot" sympathetic so much more titillant than realization. One of these days Mr. Grau to music than this handsome old couple. see the rich and some came had come. The alarum had been set for November and off it to people Goelet's box, No. 24, wearing whiteRobert 16, community will know this, and wisely decide that on the opening night of the The familiar face of their youngest It was the first night. These various' went, with a ting-a-ling-a-ling, followed by a pompous v'lan, and a becausesatin, with shoulder straps of sable. Below bang! Italian opera season there shall be no opera. It is quite superfluous, only however, was She is now made a audience, All Forty-second street because such an for missing. daughter, elements up responsive them some exquisite lace was tucked away pulsated, opportunity pulsation nobody dares to admit it. The ideal Italian opera "first would be an Mrs. Cornelius and is and occurs but once a year. You could sniff at the elevated railroad night" Vanderbilt, Jr., keenly appreciative thoroughly in the drapery on the waist, in which opera stations, upon which, when all were seated, Mr. Grau could come to the occasionabroad. The box didn't look where gamins roared In ears. You looked in quite right enthusiastic.glistened. A green Paradise aigrettediamonds unkempt "booksothopera" your and explain things to the plebs. footlightswithout her. were the De contempt at such unhallowed as the Upon the stage Reszkes, was arrayed in her hair. playhouses adjacent Empire,unmitigated "There," he could exclaim. "In box No. 7, Is Mrs. C. W. Astor. She will be So Vnnderbilts Tliere. and one or two other recipients of Mrs. Iteid's Casino and Broadway, where not a diamond would be displayed, or a bosom. Melba Wbitelaw gown was also of with us, wearing all her diamonds, on odd nights and even matinees. Mr. J. J. No Vanderbilt, nor any connection of tfcs salaries, who sang divinely, and the white and had a naked yet unashamed.glitter in the luminous electricity. In fact, you felt fabulous satin, garniture which, Astor.look at him, ladies and gentlemen.has chosen even nights and odd family, was there, of course.
Recommended publications
  • VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item
    VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just the slightest marks. For collectors searching top copies, you’ve come to the right place! The further we get from the time of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually with a translation of the text or similarly related comments. BESSIE ABOTT [s]. Riverdale, NY, 1878-New York, 1919. Following the death of her father which left her family penniless, Bessie and her sister Jessie (born Pickens) formed a vaudeville sister vocal act, accompanying themselves on banjo and guitar. Upon the recommendation of Jean de Reszke, who heard them by chance, Bessie began operatic training with Frida Ashforth. She subsequently studied with de Reszke him- self and appeared with him at the Paris Opéra, making her debut as Gounod’s Juliette.
    [Show full text]
  • Edouard De Reszke: the Career of a Famous Basso
    Edouard de Reszke: The Career of a Famous Basso. 1855-1917 Author(s): Herman Klein Source: The Musical Times, Vol. 58, No. 893 (Jul. 1, 1917), pp. 301-302 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/908418 Accessed: 30-01-2016 05:05 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times. http://www.jstor.org This content downloaded from 142.51.1.212 on Sat, 30 Jan 2016 05:05:36 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-JULY I, 1917. 30o as remainderthe segment measuring iooo mm.,emitting For Edouard de Reszke had also been here before.* an Eb in the ratio 12: 10 with the apparent tonic or With a four years' stage career behind him he had string note C, with which it accordingly forms a correct made his dbuit at Covent Garden in i880 as Indra in minor third. In its genesis from its generator, G, Massenet's 'Roi de Lahore,' a novelty of the previous this Et is seen to be the major third of the ratio 0 : 8, season, with Gayarre, Lassalle, and Albani in the which with the C gives the common chord on G principal parts.
    [Show full text]
  • The Bothner Piano Action, , 3 3
    Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org THE MUSIC TRADE REVIEW. Kimball Pianos Were accorded Highest Honors at tbe World's Pair and ar* Used and Recommended by the following eminent Musicians: Adelina Patti Jean de Reszke Emma Eames Emma Calve Edouard de Reszke JUllian Nordica * Ivilli Lehmann Jean Lassalle Francisco Tamajjno Sophia Scalchi I,. Mancinelli Max Alvary Minnie Hauk K.- fievienani Zclie de Lussan Emma Albani C. M. Ziehrer Victor Maurel K. Fursch-Madi John Phillip Sousa G. Campanaii Guirrina Fabbri Robert Goldbeck Francisco Vignu Clementine De Ver« W. E. Heimendahl Mario Ancona - Olimpia Guercia Giuseppe Del Puent* Paul Kalisch Marie Tavary Fernando De Lucia Luigi Arditi Pauline L'Allemand Conrad Behrens Durward Lely Marguerite Samuel Emil Fischer A. Mascheronl P. S. Gilmore Pablo De Sarasate B. Remenyi A. De Novellis Ovide Musin Theodor Salmon Pol. Plancon Luigi RavelH E. Ruschweyh Emil Liebling Julius Perotti Giov. Perugini Chas. Kunkel Antonio Galassi Franco Novara And many other prominent artists of Europe and America. The Piano thus indorsed by the collective genius and authorities of the world may be found in large variety; tog-ether with the Kimball Reed and Pipe . Organs, at tbe salesrooms of W. W. KIMBALL CO., PIANO AND ORGAN FAOTOniHS OP W. W. KIMBALL CO., CHICAGO. KIMBALL HALL, . CHICAGO. MANUFACTURERS«? TRADERS Who desire to obtain reliable information about their OOLB enstomers, in any branch of the music trade, should CO., subscribe for our book of OF "CREDIT RATINGS" for 1896. Special attention given to collection of past due Grand and Upright Pianos, daims in any part of the United States and Canada.
    [Show full text]
  • Signerede Plader Og Etiketter Og Fotos Signed Records and Labels and Photos
    Signerede plader og etiketter og fotos Signed records and labels and photos Soprano Blanche Arral (10/10-1864 – 3/3-1945) Born in Belgium as Clara Lardinois. Studied under Mathilde Marchesi in Paris. Debut in USA at Carnegie Hall in 1909. Joined the Met 1909-10. Soprano Frances Alda (31/5-1879 – 18/9-1953) Born Fanny Jane Davis in New Zealand. Studied with Mathilde Marchesi in Paris, where she had her debut in 1904. Married Guilio Gatti-Casazza – the director of The Met – in 1910. Soprano Geraldine Farrar – born February 28, 1882 – in Melrose, Massachusetts – died March 11, 1967 in Ridgefield, Connecticut Was also the star in more than 20 silent movies. Amercian mezzo-soprano Zélie de Lussan – 1861 – 1949 (the signature is bleached) American tenor Frederick Jagel – June, 10, 1897 Brooklyn NY – July 5, 1982, San Francisco, California At the Met from 1927 - 1950 Soprano Elisabeth Schwartzkopf – Met radio transmission on EJS 176 One of the greatest coloratura sopranos. Tenor Benjamino Gigli (20/3-1890 – 30/11-1957) One of the greatest of them all. First there was Caruso, then Gigli, then Björling and last Pavarotti. Another great tenor - Guiseppe di Stefano (24/7-1921 – 3/3-2008) The Italian tenor Guiseppe Di Stefano’s carreer lasted from the late 40’s to the early 70’s. Performed and recorded many times with Maria Callas. French Tenor Francisco (Augustin) Nuibo (1/5-1874 Marseille – Nice 4.1948) The Paris Opéra from 1900. One season at The Met in 1904/05. Tenor Leo Slezak (18/8-1873 – 1/6-1946) born in what became Czeckoslovakia.
    [Show full text]
  • ARSC Journal
    A PROVISIONAL MAPIESON CYLINDER CHRONOLOGY 1865 - October 23. Lionel S. Mapleson born, London, England, of a line of music librarians going back to the mid-18th century. His uncle was the famed impressario "Colonel" James Henry Mapleson. 1889 - Emigration to New York, having been trained by his music librarian­ violinist father and having played under Hans Richter as violinist and violist. He joined the orchestra of the then six-year-old Metropolitan Opera and soon assumed the position of Librarian, serving in that capacity for 48 years. 1893 - Marriage to Helen White, a soprano in the Company. 1900 - Following acquisition of an Edison cylinder phonograph (Home - Model A - "suitcase" type), Mapleson undertakes initial recording experiements with Metropolitan Opera artists. Marcella Sembrich during March of this year records the cadenza from Johan Strauss's Friihlingstimmen (in its popular Italian language vocal version, Voci di primavera). Mapleson adds his own announcement at the close. 1901 - January 16. From the Metropolitan Opera prompter's box, Mapleson records Mme. Melba in the Infanta's Alleluia from Massenet's Le Cid, this being the earliest of the extant 2-minute wax cylinders taken by him from actual stage performances. other notable Melba cylinders from that season include items from Lucia di Lammermoor (March 2 and 18), Rom6o et Juliette (March 9, with closing announce­ ment by Mapleson), La Traviata (March 16), and Faust (March 4 and 28). From this season come also the only extant audio documentations of legendary tenor, Jean de Reszke, in bits from Le Cid (January 19), L 'Africaine (March 15), Les Huguenots (Marchil},Siegfried (March 19), and Lohengrin (March 29--de Reszke's final appearance at the Metroplitan).
    [Show full text]
  • The Evolution of the Heldentenor
    THE EVOLUTION OF THE HELDENTENOR : SIEGMUND, GRIMES, SAMSON, AND OTELLO by JAMES HENRY SEAY, III SUSAN CURTIS FLEMING, COMMITTEE CHAIR PAUL H. HOUGHTALING STEPHEN V. PELES LINDA PAGE CUMMINS AMANDA W. PENICK ELIZABETH S. AVERSA A DMA MANUSCRIPT Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the School of Music in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2014 Copyright James Henry Seay, III 2014 ALL RIGHTS RESERVED ABSTRACT The purpose of this manuscript is to set into context a recital which highlights the attributes of the Heldentenor. The recital was held on 11 March 2014 and was comprised of operatic excerpts from Wagner’s Die Walk üre (1870), Saints-Sa ëns’ Samson et Dalila (1877) , Britten’s Peter Grimes (1945), and Verdi’s Otello (1887). All four of these operas have become mainstays in the repertoire of the Heldentenor . The program from the recital appears in the appendix at the end of this manuscript, and the program includes translations of the operatic excerpts and the text of spoken introductions that were read as part of the recital. Since the mid-nineteenth century, the Heldentenor voice classification has played an integral role in popular opera theater. The origin of the Heldentenor classification can be traced back to the abrupt change in the performance practice of the upper register of the tenor voice with the now famous performance of the full-throated, chest high Cs in Rossini’s Guillame Tell sung by Gilbert-Louis Duprez (1806-1896) at the national opera in Paris in 1837.1 As the technique involving the upper register of the tenor voice changed, the vocal and dramatic demands placed on the voice type increased.
    [Show full text]
  • Tristan Und Isolde
    Richard Wagner Tristan und Isolde CONDUCTOR Opera in three acts James Levine Libretto by the composer PRODUCTION Dieter Dorn Saturday, March 22, 2008, 12:30–5:30pm SET AND COSTUME DESIGNER Jürgen Rose LIGHTING DESIGNER Max Keller The production of Tristan und Isolde was made possible by a generous gift from Mr. and Mrs. Henry R. Kravis. Additional funding for this production was generously provided by Mr. and Mrs. Sid R. Bass, Raffaella and Alberto Cribiore, The Eleanor Naylor Dana Charitable Trust, Gilbert S. Kahn and John J. Noffo Kahn, Mr. and Mrs. Paul M. Montrone, Mr. and Mrs. Ezra K. Zilkha, and one anonymous donor. The revival of this production is made possible by a generous gift from The Gilbert S. Kahn and John J. Noffo GENERAL MANAGER Kahn Foundation. Peter Gelb MUSIC DIRECTOR James Levine 2007-08 Season The 447th Metropolitan Opera performance of Richard Wagner’s Tristan und Isolde Conductor James Levine IN ORDER OF VOCAL APPEARANCE A Sailor’s Voice King Marke Matthew Plenk Matti Salminen Isolde A Shepherd Deborah Voigt Mark Schowalter Brangäne M A Steersman Deborah Voigt’s Michelle DeYoung James Courtney performance is underwritten by Kurwenal Eike Wilm Schulte the Annenberg English horn solo Principal Artist Tristan Pedro R. Díaz Fund. Robert Dean Smith DEBUT This afternoon’s performance is Melot being broadcast Stephen Gaertner live on Metropolitan Opera Radio, on Sirius Satellite Radio channel 85. Saturday, March 22, 2008, 12:30–5:30pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD is generously supported by the Neubauer Family Foundation.
    [Show full text]
  • 18.5 Vocal 78S. Sagi-Barba -Zohsel, Pp 135-170
    VOCAL 78 rpm Discs EMILIO SAGI-BARBA [b]. See also: MIGUEL FLETA [t], LUISA VELA [s] 1824. 10” Blue Victor 45284 [17579u/18709u]. NAZARETH [VILLANCICO] (Francisco Titto) / PLEGARIA A LA SANTISSIMA VIRGEN DEL PILAR (F. Agüeral). One harm- less lt., small discoloration patch side two, otherwise just about 1-2. $15.00. 3075. 12” Blue Victor 55143 (74389/74350) [02898½v/492ac]. EL CANTO DEL PRESI- DARIO (Alvarez) / Á TUS OJOS (Fuster). Few lightest mks. Cons . 2. $15.00. MATHILDE SAIMAN [s] 2357. 12” Red acous. Eng. Columbia D14203 [LX 13/LX 8]. GISMONDA: La paix du cloï- tre (Février) / MADAMA BUTTERFLY: Sur la mer calmée (Puccini). Side one just about 1-2. Side two cons . 2. $15.00. GIUSEPPE SALA [t]. Kutsch-Riemens suggests a birthdate of around 1870. Sala appears to have been active particularly in comprimario roles through at least 1911. 1n 1910, Giovanni Martinelli, basically then unknown, replaced Sala in a 1910 Teatro dal Verme performance of the Verdi Requiem . Martinelli’s sucess that evening led to his operatic debut there three weeks later as Verdi’s Ernani. Sala, however, experienced success by participating in the Teatro dal Verme world premiere of Zandonai’s Conchita and the Teatro Costanzi Italian premiere of Puccini’s La Fanciulla del West , both in 1911. What became of him subsequently doesn’t seem to be known. 1199. 11” Brown Odeon 37351/37346 [Xm633/Xm577]. I PURITANI: A te o cara (Bel- lini)/ DORA DOMAR [s]. MARRIAGE OF FIGARO: Voi che sapete (Mozart). Side one cons. 2. Side two gen . 2.
    [Show full text]
  • VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item
    VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just slight marks. For collectors searching top copies, you’ve come to the right place! The further we get from the era of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. Also featured are many “Z” shellac Victors, their best quality surface material (later 1930s) and PW (Pre-War) Victor, almost as good surface material as “Z”. Likewise laminated Columbia pressings (1923- 1940) offer particularly fine sound. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-‘14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually featuring translations of the text or similarly related comments. VERTICALLY CUT RECORDS. There were basically two systems, the “needle-cut” method employed by Edison, which was also used by Aeolian-Vocalion and Lyric and the “sapphire ball” system of Pathé, also used by Rex. and vertical Okeh.
    [Show full text]
  • Shall We Realize Wagner's Ideals?
    SHALL WE REALIZE WAGNER'S IDEALS? By CARL VAN VECHTEN Downloaded from ISTORIANS of operatic phenomena have observed that fashions in music change; the popular Donizetti and H Bellini of one century are only suffered to exist during the next for the sake of the opportunity they afford to some http://mq.oxfordjournals.org/ brilliant songstress. New tastes arise, new styles in music. Dukas' generally unrelished (and occasionally highly appreciated) Ariane et Barbe-Bleue may not be powerful enough to establish a place for itself in the repertoire, but its direct influence on composers and its indirect influence on auditors make this lyric drama highly important as an indication of the future of opera as a fine art. Moussorgsky's Boris Oodunow, first given in this country some forty years after its production in Russia, is another at Cambridge University on August 11, 2015 matter. That score contains a real thrill in itself, a thrill which when felt makes it just a little difficult to feel the intensity of a Wagner drama again: because Wagner is becoming just a little bit old-fashioned. Lohengrin and TannhUtuer are becoming a little shop-worn. They do not glitter with the glory of a Don Giovanni or the invincible splendor of an Armide. There are parts of Die WaUcUre which are growing old. Now1 Wagner, in many ways the greatest figure as opera composer which the world has yet produced, could hold his place, in the Hinging theatres for many decades to come if some proper effort were made to do justice to his dramas, the justice which in a large measure has been done to his music.
    [Show full text]
  • The Bothnerpiano Action
    Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org THE MUSIC TRADE REVIEW. Kimball Pianos Were accorded Highest Honors at the World's Pair and are Used and Recommended by the following eminent Musicians: Adelina Patti Jean de Reszke Emma Eames Emma Calvg Edouard de Reszke Lillian Nordica Lilli Lehmann Jean Lassalle Francisco Tamagno Sophia Scalchi L. Mancinelli Max Alvary Minnie Hauk E. Bevignani Zelie de Lussan Emma Albani C. M. Ziehrer Victor Maurel E. Fursch-Madi John Phillip Sousa G. Campanari Guirrina Fabbri Robert Goldbeck Francisco Vignafl Clementine De Vere W. E. Heimendahl Mario Aucona Olimpia Guercia Giuseppe Del Puente Paul Kalisch Marie Tavary Fernando De Lucia Luigi Arditi Pauline L'AIlemand Conrad Behrens Durward Lely Marguerite Samuel Emil Fischer A. Mascheronl P. S. Gilmore Pablo De Sarasate E. Remenyi A. De Novellis Ovide Musin Theodor Salmon Pol. Plancon Luipi Ravelli E. Ruschweyh Etnil Liebling Julius Perotti Giov. Perugini Chas. Kunkel Antonio Galassi Franco Novara And many other prominent artLsts of Europe and America. The Piano thus indorsed by the collective genius and authorities of the world may be found in large variety, together with the Kimball Reed and Pipe Organs, at the salesrooms of W. W. KIMBALL CO., PIANO AND ORGAN FACTORIES OF W. W. KIMBALL CO.. CHICAGO. KIMBALL HALL, . CHICAQO. MANUFACTURERS* TRADERS Whr desire to obtain reliable information about theii customers, in any branch of the music trade, should THE COLBY PIA1TO CO., subscribe for our book of ' >' •AJTCVAOTVKKK8 OF "CREDIT RATINGS" for 1896. Special attention given to collection of past due Grand and Upright Pianos, claims in any part of the United States and Canada.
    [Show full text]
  • EJC Cover Page
    Early Journal Content on JSTOR, Free to Anyone in the World This article is one of nearly 500,000 scholarly works digitized and made freely available to everyone in the world by JSTOR. Known as the Early Journal Content, this set of works include research articles, news, letters, and other writings published in more than 200 of the oldest leading academic journals. The works date from the mid-seventeenth to the early twentieth centuries. We encourage people to read and share the Early Journal Content openly and to tell others that this resource exists. People may post this content online or redistribute in any way for non-commercial purposes. Read more about Early Journal Content at http://about.jstor.org/participate-jstor/individuals/early- journal-content. JSTOR is a digital library of academic journals, books, and primary source objects. JSTOR helps people discover, use, and build upon a wide range of content through a powerful research and teaching platform, and preserves this content for future generations. JSTOR is part of ITHAKA, a not-for-profit organization that also includes Ithaka S+R and Portico. For more information about JSTOR, please contact [email protected]. SHALL WE REALIZE WAGNER'S IDEALS? By CARL VAN VECHTEN ISTORIANS of operatic phenomena have observed that fashions in music change; the popular Donizetti and Bellini of one century are only suffered to exist during the next for the sake of the opportunity they afford to some brilliant songstress. New tastes arise, new styles in music. Dukas' generally unrelished (and occasionally highly appreciated) Ariane et Barbe-Bleue may not be powerful enough to establish a place for itself in the repertoire, but its direct influence on composers and its indirect influence on auditors make this lyric drama highly important as an indication of the future of opera as a fine art.
    [Show full text]