DOCSLIB.ORG

Joseph Bennett Source: the Musical Times and Singing Class Circular, Vol

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Joseph Bennett Source: the Musical Times and Singing Class Circular, Vol Some Recollections: XIII. Of Prime Donne and Another Author(s): Joseph Bennett Source: The Musical Times and Singing Class Circular, Vol. 41, No. 683 (Jan. 1, 1900), pp. 16-18 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3366232 Accessed: 20-03-2016 06:34 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 and Singing Class Circular. http://www.jstor.org This content downloaded from 129.137.5.42 on Sun, 20 Mar 2016 06:34:49 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-JANUARY I, I900. The time absorbed in lettering may seem a serious London urent half mad about Sontag7s beauty obstacle, but it does not turn out to be so. The average and marvellous singing. Again to quote time taken is about twelve seconds. I have often tested Chorley: 4'The Sunday papers told of Dukes fifty in ten minutes. You must do something in your dying for her; of Marquises only waiting to time. Examination of this kind is not a waste of time it is unmistakably an excellent employment of time, and lay their coronets at her feet; Royalty itself it is intensely interesting and edllcative to the class. was said to have mingled in this dance. The teaching. Give short, bright, incisive lessons to two Colours and racehorses were called by her or three sections grouped. The others must, of course, name, and (not the least signiScant tribute to meantime either be silent or, if a higher section. be called upon to pattern (often a proud moment) and if a lower her fascinations) a fashionable publisher tickled section be strongly urged to learn by listening. the Town's curiosity by announcing as forth- A dvaxtagas-Besides the advantages already enumerated conling, ' Travelling Sketches, by Mdlle. the plan permits a teacher to easily select his best pupils Sontag."' The object of all this adulation or eliminate his worst when he wishes to prepare good music. The best are then guides to the others and did not proclaim on the house-tops, for the unhampered by the hangers-on, they work more willingly. benefit of amorous Dukes and Marquises Here are the results in two classes at the end of that her hand was pledged to a noble but a term:- far from wealthy Italian diplomat, Count A B C D E F G H I J K L M Rossi. That secret she kept in her heart till, 6 2 o 5 6 7 7 8 5 5 5 4 3=63 4 3 o o o 6 8 5 9 8 7 6 6=62 having made moIley enough, she suddenly retired from the stage, accepted a patent of The doses can be strengthened according to circumstances. I daresay other teachers have adopted other and better nobility from the King of Prussia, and married plans of meeting this special difficulty. the man of her choice as his equal. (To be continged.) Twenty years passed over the Countess Rossi's fair head-twenty years of high rank, as the wife of an ambassador, and of still more SOME RECOLLECTION S. marked distinction, since the public did not forget XIII OF PRIME DONNE AND ANOTHER. Henrietta Sontag, or lose any opportunity of demonstrating that they carried the memory THE ;'forties" had not quite run their course of the bright and beautiful singer in their when I came to London, a first time, as a visitor hearts. to the lions of the metropolis. Though a raw The revolutionary year, I848, came with its lad, I had plenty of enthusiasm for music, and disasters, and Count Rossi was not one of the the king of all the lions, in my estimation, was least sufferers. So serious were his Enancial the opera. What more natural ? I had never losses that the brave wife made up her mind to seen a performance on the lyric stage. Imagine, resume her profession. She had dowered her- therefore, the eagerness with which I hurried, self by hard work; why should she not again on the very earening of my arrival, to the gallery build up the fortunes of her household ? So it door of Her Majesty's Theatre, not troubling to became known to all whom it might concern discover the opera to be perforlned or the artists that the public favourite of I828, and after, was who were to play in it. Lyric dramas and their again available. True, she had reached the age expoIlents were all pretty much alike to me, of forty-three, but Sontag had preserlred her but, on reading the bills at the theatre entrances, beauty in a marvellous degree, and, in no less I felt some satisfaction in that I was to hear measure, her vocal powers also. Chorley tells *; La Sonnambula.'7 Bellini's melodies were us: " She had never laid aside the care and everywhere at that time. There was hardly a culture of her delicious voice during her tenor who did not essay to languish with episode of ante-chamber work and monotonous Elvino; scarcely a soprano whose repertory Court splendour. She sang in public, as failed to contain an extract from the lyric an amateur, once or twice, for charitable woes of A mina. I thought myself in luck, purposes. In private noble circles she was therefore; but the opera did not represent all frequently to be heard." Hence, there was my good fortune. The bills promised a hearing nothing in her appearance or her powers to of Madame Sontag, the great German make return to the stage a risky adventure, and artist, concerning whom the thousand tongues at least one stage that of Her Majesty's of Rumour had for some time been wagging Theatre-was willing and eager to receive her. loudly enough to arrest attention even in the Jenny Lind, the stay of Lumley's fortunes, had heart of the country. In London, Henrietta abandoned opera, and later attractions had Sontag was no stranger to veteran opera-goers, poorly supplied her place. The enterprise was though since her previous appearances, in I828 marching to ruin, and the manager knew it. a generation had grown up which knew her Imagine how gIadly he received the news not. On the Continent she had made a name of Sontags fortunate resolution, and how before that date. Weber's " Euryanthe" was promptly he came to terms with her. His written for her, and, according to Henry Chorley, only risk in the matter was a possibility Beethoven chose her as his leading soloist ln that the public, scarcely recovered from the the great Mass. She was the Fairy Princess Lind fever, would make unfavourable com- of Young Germany. One of her shoes, which parisons, not only between the Swedish Young Germany had stolen, was used as a Nightingale and her sister of Germany, but drinking cup. Even comparatively sedate This content downloaded from 129.137.5.42 on Sun, 20 Mar 2016 06:34:49 UTC All use subject to JSTOR Terms and Conditions I7 THE MUSICAL TIMES. JANUARY I, I900. prejudice against native artists was strong in also between the Sontags of I828 and I849. aristocratic circles, which alone, then as now, However, all went well. A contemporary had weight with managers, while the foreign journalist wrote: " No magic could restore to singers agreed in nothing so much as a desire her voice an upper note or two which Time had to keep their preserve to themselves. For some taken . but she was greeted, as she time beforeS however, letters had appeared in deser+red to be, as a beloved old friend come the public prints asking why the English tenor, home again, in the late summer days." whose debut at Drury Lane had made an im- This was the artist whom a lucky chance pression, was not called to one of the fashionable placed among my recollections my Erst houses. Because of this, and, no doubt, through prima donna, heard in the freshness of other influences as well, Reeves and Lumley youth and youthful enthusiasm; so heard that came together. The part of Donizetti's Carlo no phonographic ;' record" is clearer than is not one of first-class importance, but the my memory of her Amina after the lapse of English debutant gained plenty of honours in Efty years. I see her now as, amid a storm of it. The Times declared him " really a valuable applause, she made her entry in the character acquisition to the theatre"; the Morni>zg of the innocent maiden whose simple fortunes Chronicle hailed him as ' signally successful"; so interested the public till simplicity and the Daily News praised the beauty of his artlessness passed out of fashion. Her age voice and the warmth of his expression. So was unknown to me, but I imagined Sontag as with other journals, and everything promised only a few years older than myself, so successful brilliantly for " Signor Reeves." But fair had been conservation of face and figure plus mornings are often clouded over.
Load more

Recommended publications
  • The Year's Music
    This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com fti E Y LAKS MV5IC 1896 juu> S-q. SV- THE YEAR'S MUSIC. PIANOS FOR HIRE Cramer FOR HARVARD COLLEGE LIBRARY Pianos BY All THE BEQUEST OF EVERT JANSEN WENDELL (CLASS OF 1882) OF NEW YORK Makers. 1918 THIS^BQQKJS FOR USE 1 WITHIN THE LIBRARY ONLY 207 & 209, REGENT STREET, REST, E.C. A D VERTISEMENTS. A NOVEL PROGRAMME for a BALLAD CONCERT, OR A Complete Oratorio, Opera Recital, Opera and Operetta in Costume, and Ballad Concert Party. MADAME FANNY MOODY AND MR. CHARLES MANNERS, Prima Donna Soprano and Principal Bass of Royal Italian Opera, Covent Garden, London ; also of 5UI the principal ©ratorio, dJrtlustra, artii Sgmphoiu) Cxmctria of ©wat Jfvitain, Jtmmca anb Canaba, With their Full Party, comprising altogether Five Vocalists and Three Instrumentalists, Are now Booking Engagements for the Coming Season. Suggested Programme for Ballad and Opera (in Costume) Concert. Part I. could consist of Ballads, Scenas, Duets, Violin Solos, &c. Lasting for about an hour and a quarter. Part II. Opera or Operetta in Costume. To play an hour or an hour and a half. Suggested Programme for a Choral Society. Part I. A Small Oratorio work with Chorus. Part II. An Operetta in Costume; or the whole party can be engaged for a whole work (Oratorio or Opera), or Opera in Costume, or Recital. REPERTOIRE. Faust (Gounod), Philemon and Baucis {Gounod) (by arrangement with Sir Augustus Harris), Maritana (Wallace), Bohemian Girl (Balfe), and most of the usual Oratorios, &c.
    [Show full text]
  • SIR ARTHUR SULLIVAN: Life-Story, Letters, and Reminiscences
    This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com SirArthurSullivan ArthurLawrence,BenjaminWilliamFindon,WilfredBendall \ SIR ARTHUR SULLIVAN: Life-Story, Letters, and Reminiscences. From the Portrait Pruntfd w 1888 hv Sir John Millais. !\i;tn;;;i*(.vnce$. i-\ !i. W. i ind- i a. 1 V/:!f ;d B'-:.!.i;:. SIR ARTHUR SULLIVAN : Life-Story, Letters, and Reminiscences. By Arthur Lawrence. With Critique by B. W. Findon, and Bibliography by Wilfrid Bendall. London James Bowden 10 Henrietta Street, Covent Garden, W.C. 1899 /^HARVARD^ UNIVERSITY LIBRARY NOV 5 1956 PREFACE It is of importance to Sir Arthur Sullivan and myself that I should explain how this book came to be written. Averse as Sir Arthur is to the " interview " in journalism, I could not resist the temptation to ask him to let me do something of the sort when I first had the pleasure of meeting ^ him — not in regard to journalistic matters — some years ago. That permission was most genially , granted, and the little chat which I had with J him then, in regard to the opera which he was writing, appeared in The World. Subsequent conversations which I was privileged to have with Sir Arthur, and the fact that there was nothing procurable in book form concerning our greatest and most popular composer — save an interesting little monograph which formed part of a small volume published some years ago on English viii PREFACE Musicians by Mr.
    [Show full text]
  • Download Booklet
    HarmoniousThe EchoSONGS BY SIR ARTHUR SULLIVAN MARY BEVAN • KITTY WHATELY soprano mezzo-soprano BEN JOHNSON • ASHLEY RICHES tenor bass-baritone DAVID OWEN NORRIS piano Sir Arthur Sullivan, Ottawa, 1880 Ottawa, Sullivan, Arthur Sir Photograph by Topley, Ottawa, Canada /Courtesy of David B. Lovell Collection Sir Arthur Sullivan (1842 – 1900) Songs COMPACT DISC ONE 1 King Henry’s Song (1877)* 2:23 (‘Youth will needs have dalliance’) with Chorus ad libitum from incidental music to Henry VIII (1613) by William Shakespeare (1564 – 1616) and John Fletcher (1579 – 1625) Andante moderato Recording sponsored by Martin Yates 3 2 The Lady of the Lake (1864)† 3:25 from Kenilworth, ‘A Masque of the Days of Queen Elizabeth’, Op. 4 (or The Masque at Kenilworth) (1864) Libretto by Henry Fothergill Chorley (1808 – 1872) Allegro grazioso 3 I heard the nightingale (1863)‡ 2:59 Dedicated to his Friend Captain C.J. Ottley Allegretto moderato 4 Over the roof (1864)† 3:04 from the opera The Sapphire Necklace, or the False Heiress Libretto by Henry Fothergill Chorley Allegretto moderato Recording sponsored by Michael Symes 4 5 Will He Come? (1865)§ 4:05 Dedicated to The Lady Katherine Coke Composed expressly for Madame Sainton Dolby Moderato e tranquillo – Quasi Recitativo – Tranquillo un poco più lento Recording sponsored by Michael Tomlinson 6 Give (1867)† 4:56 Composed and affectionately dedicated to Mrs Helmore Allegretto – Un poco più lento – Lento Recording sponsored by John Thrower in memory of Simon and Brenda Walton 7 Thou art weary (1874)§ 5:00 Allegro vivace e agitato – Più lento – Allegro. Tempo I – Più lento – Allegro.
    [Show full text]
  • Music (Opportunities for Research in the Watkinson Library)
    Trinity College Trinity College Digital Repository Watkinson Library (Rare books & Special Watkinson Publications Collections) 2016 American Periodicals: Music (Opportunities for Research in the Watkinson Library) Leonard Banco Follow this and additional works at: https://digitalrepository.trincoll.edu/exhibitions Part of the Musicology Commons Recommended Citation Banco, Leonard, "American Periodicals: Music (Opportunities for Research in the Watkinson Library)" (2016). Watkinson Publications. 22. https://digitalrepository.trincoll.edu/exhibitions/22 Opportunities for Research in the Watkinson Library • • • • American Perioclicals: USIC Series Introduction A traditional focus of collecting in the Watkinson since we opened on August 28, 1866, has been American periodicals, and we have quite a good representation of them from the late 18th to the early 20th centuries. However, in terms of "discoverability" (to use the current term), it is not enough to represent each of the 600-plus titles in the online catalog. We hope that our students, faculty, and other researchers will appreciate this series ofannotated guides to our periodicals, broken down into basic themes (politics, music, science and medicine, children, education, women, etc.), MUSIC all of which have been compiled by Watkinson Trustee and Introduction volunteer Dr. Leonard Banco. We extend our deep thanks to Len for the hundreds of hours he has devoted to this project The library holds a relatively small but significant since the spring of 2014. His breadth of knowledge about the collection of19 periodicals focusing on music that period and inquisitive nature has made it possible for us to reflects the breadth ofmusical life in 19th-century promote a unique resource through this work, which has America as it transitioned from an agrarian to an already been of great use to visiting scholars and Trinity industrial society.
    [Show full text]
  • Musical Networks in Early Victorian Manchester R M Johnson Phd 2020
    Musical Networks in Early Victorian Manchester R M Johnson PhD 2020 Musical Networks in Early Victorian Manchester RACHEL MARGARET JOHNSON A thesis submitted in partial fulfilment of the requirements of Manchester Metropolitan University for the degree of Doctor of Philosophy Awarded for a Collaborative Programme of Research at the Royal Northern College of Music by Manchester Metropolitan University 2020 Abstract My dissertation demonstrates how a new and distinctive musical culture developed in the industrialising society of early Victorian Manchester. It challenges a number of existing narratives relating to the history of music in nineteenth-century Britain, and has implications for the way we understand the place of music in other industrial societies and cities. The project is located at the nexus between musicology, cultural history and social history, and draws upon ideas current in urban studies, ethnomusicology and anthropology. Contrary to the oft-repeated claim that it was Charles Hallé who ‘brought music to Manchester’ when he arrived in 1848, my archival research reveals a vast quantity and variety of music-making and consumption in Manchester in the 1830s and 1840s. The interconnectedness of the many strands of this musical culture is inescapable, and it results in my adoption of ‘networks’ as an organising principle. Tracing how the networks were formed, developed and intertwined reveals just how embedded music was in the region’s social and civic life. Ultimately, music emerges as an agent of particular power in the negotiation and transformation of the concerns inherent within the new industrial city. The dissertation is structured as a series of interconnected case studies, exploring areas as diverse as the music profession, glee and catch clubs, the Hargreaves Choral Society’s programme notes, Mechanics’ Institutions and the early Victorian public music lecture.
    [Show full text]
  • The W York Herald. Whole No
    THE W YORK HERALD. WHOLE NO. 7531. SUNDAY MORNING, AUGUST 7, 1863. IV! Our Londm Correspondence. sure to virit Mr. Allcroft's Strand theatre, where Mutilation at Home The !Ycw Police. " is all the IhalupMrt'i River TJOHWV TMATklL-Dook# OPEN AT 7* J OVK- VTIBI.O'S OF Albkmaki.k 8trekt, Sambodampalus" rage. MLsa R. Isaacs was thb governor or Louisiana tdbre? NAME? AND RESIDENCES OF THE OFFICIOUS. THUS JJ GARDENS-TICKETS TO ALL PARTS Piccadilly,) as the anomalous Widmat^fUMk -i- the house, 80 c*nts Private is eharraiog young [From the llElNlj . will oe J ftoxa*. $V London, July 22, 1363. f King. Leaming'on Hp* Courier, (no dnte; ] i-WOKN IN BAN^l'ET AT ABIJ»* V ¦.Mir evening Hint 8, .orfertued Door* open at 7; to tmnnidm at 8 o'slock. else but farewell dinners to M. JullienA and moat ?c»Ldaloun act <u here THE N*I«U Continental Ntws . The Nothing perpetrated (^tratfotd- The following m Um names an of the tedt" *tr Qirt»W. BALFVS CHARMING OI'KKi OF P1IK BOHEMIAN Summary of New Cab his talented band, is the order of the upon Avon) within the lai*t few which cannot be rMldMOM Eopert. .Mr Hewiitov Knptlste Mr. LeSagwell day. To-night days, GIRL. too . the new Ma Miss HifWt Knffo Mr Dawes Law The Great Britain Steamer Tkeitricals I them at the Freemason's to a ttronglr stigmatised. It has been urged, and justly vlduals forming ri»«r police under the con .. _ MADAME AMNt THILLON, join Tavern, grand a* a n ..
    [Show full text]
  • Opera in London During the Nineteenth-Century Lucia Di
    Opera in London during the Nineteenth-Century Pip Clayton Oyer the years I have collected a number of lithographs and prints of theatres. actors and opera singers. The larger part of my collecdon is of scenes lrom operas given in l,ondon from 1800 to 1899. There are well- known operas, some not so well-known, and some which ate now completely forgotten. I thoughr I should like to share some of them with our members. along with press-reports of the period and some observations on the singers: to complement the articles by Douglas Bemett in Newslellers 93 and 94: whal better lo start with than: Lucia di lammermoor Donizetti's 47th opem did not take long to reach l-ondon where it had its first perfrmance st Her Majesty's Theatre on 5 April 1838 with Fanny Tacchinardi-Persiani, who had created the role, as Lucia. Edgardo and Enrico were sung by Giovan Battista Rubini and Antonio Tamburini. The review in the Times of 6 April gave the singers a favourable mention but more space was given to the thought that Persiani's dresses were more elaboraie than those she wore as Amina, also that the Queen attended and that the theatre was crowded early in the evening. But what amazed me was the review for the opera itself: "Like other ltalian operas, it is rqther a succession of scenes than any attempt at a plot of regular drama, the material poor and spiritless in itself by no means good even for Donizetti, who is but oJ a mediocre school".
    [Show full text]
  • STOVALL-THESIS-2012.Pdf (417.3Kb)
    Bias, Ridicule, and Commercialization: Social Implications in Victoria's “Land without Music” _______________ A Thesis Presented to The Faculty of the Moores School of Music University of Houston _______________ In Partial Fulfillment Of the Requirements for the Degree of Master of Music _______________ By James Brandon Stovall December, 2012 Bias, Ridicule, and Commercialization: Social Implications in Victoria's “Land without Music” _________________________ James Brandon Stovall APPROVED: _________________________ Jeffrey Sposato, Ph.D. Committee Chair Moores School of Music _________________________ Paul Bertagnolli, Ph.D. Moores School of Music _________________________ Natalie Houston, Ph.D. Department of English _________________________ John W. Roberts, Ph.D. Dean, College of Liberal Arts and Social Sciences Department of English ii Bias, Ridicule, and Commercialization: Social Implications in Victoria's “Land without Music” _______________ An Abstract of A Thesis Presented to The Faculty of the Moores School of Music University of Houston _______________ In Partial Fulfillment Of the Requirements for the Degree of Master of Music _______________ By James Brandon Stovall December, 2012 iii ABSTRACT Nineteenth-century England is today perceived as a “Land ohne Musik” (“land without music”). This label arose because England is said to have produced no first-rate composers between the time of Henry Purcell and Arthur Sullivan. Previous discussions of England as a “Land ohne Musik” have attempted to overcome this ignominy by pointing out the high points of Victorian musical life and the achievements of a few native composers. This thesis will focus, instead, on the social implications that caused England to develop this reputation. The discussion will first address the bias toward English musicians that existed during the nineteenth century.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 11, 1891-1892
    ACADEMY OF MUSIC, BROOKLYN. BOSTON SYMPHONY ORCHESTRA. ARTHUR NIKISCH, Conductor. Eleventh Season. 1891-92. PROGRAMME OF THE First Rehearsal and Concert Friday Afternoon, November 6, at 2.30. Saturday Evening, November 7, at 8.00. Historical and Descriptive Notes prepared by G. H. WILSON. PUBLISHED BY 0. A. ELLIS, Manfger. The MASON & HAMLIN PIANC Illustrates the same high standard of excellence which has always characterized the MASON & HAMLIN ORGANS, and won for them the Highest Awards at ALL GREAT WORLDS EXHIBITIONS since and including that of Paris, 1S67. SOLD ON EASY TERMS AND RENTED. MASON & HAMLIN ORGAN AND PIANO CO. BOSTON, Mason & Hamlin Hall, 154 and 155 Tremont Street. NEW YORK, 158 Fifth Avenue. CHICAGO, 149 Wabash Avenue. Or'-in and Piano Catalogue sent free to any address. ' Boston Academy Symphony of Music #' _. , , SEASON OF Orchestra ^i-^ Mr. ARTHUR N1KISCH, Conductor. First Rehearsal and Concert, Friday Afternoon, November 6, Saturday Evening, November 7. PROGRAMME. Beethoven ------ Overture, " Leonore," No. 3 " Gounod _-_-_ Aria from the " Queen of Sheba Tschaikowsky _______ Suite, Op. 55 Elegie. Valse melancholique. Scherzo. Tema con Variazioni. " Wagner - Aria, " Hall of Song," from " Tannhaeuser Wagner _____ Prelude, "Die Meistersinger Soloist, Mme. LILLIAN NORDICA. The announcement of the next Concert will be found on page 15. (3) SHORE LINE BOSTON Tfl NEW YORK NEW YORK TOU BOSTON Trains leave either city, week-days, as follows, except as noted: DAY EXPRESS at 10.00 a.m. j A i live at 4.30 p.m. BUFFET DRAWING-ROOM CARS. AFTERNOON SERVICE at 1.00 p.m. Arrive at 7.30 p.m.
    [Show full text]
  • Beethoven-Catalogue.Pdf
    J & J LUBRANO MUSIC ANTIQUARIANS item 10 Catalogue 88 BEETHOVEN A Celebration of the 250th Anniversary of the Composer’s Birth FIRST & EARLY EDITIONS ICONOGRAPHY EPHEMERA & LITERATURE ❖ 6 Waterford Way, Syosset, NY 11791 USA [email protected] www.lubranomusic.com T 516-922-2192 CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). Please note that all material is in good antiquarian condition unless otherwise described. All items are offered subject to prior sale. We thus suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory numbers of desired items in the SEARCH box at the upper right of our homepage. We ask that you kindly wait to receive our invoice to ensure availability before remitting payment. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. New York State sales tax will be added to the invoices of New York State residents. We accept payment by: - Credit card (VISA, Mastercard, American Express) - PayPal to [email protected] - Checks in U.S. dollars drawn on a U.S. bank - International money order - Electronic Funds Transfer (EFT), inclusive of all bank charges (details at foot of invoice) - Automated Clearing House (ACH), inclusive of all bank charges (details at foot of invoice) All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full.
    [Show full text]
  • Downloadable PDF
    To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/437 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Verdi in Victorian London Massimo Zicari https://www.openbookpublishers.com © 2016 Massimo Zicari This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the author (but not in any way that suggests that he endorses you or your use of the work). Attribution should include the following information: Massimo Zicari, Verdi in Victorian London. Cambridge, UK: Open Book Publishers, 2016. http://dx.doi.org/10.11647/OBP.0090 In order to access detailed and updated information on the license, please visit https:// www.openbookpublishers.com/isbn/9781783742134#copyright Further details about CC BY licenses are available at https://creativecommons.org/ licenses/by/4.0/ All external links were active on 28/6/2016 unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Updated digital material and resources associated with this volume are available at https://www.openbookpublishers.com/isbn/9781783742134#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher.
    [Show full text]
  • An Opera Singer's Gothic Fiction: the Autobiographies of Sims Reeves
    An Opera Singer’s Gothic Fiction: The Autobiographies of Sims Reeves Anna Maria Barry In George Eliot’s novel Daniel Deronda (1876), the eponymous protagonist is “stung to the quick” by the suggestion that he could become like the famous Italian tenors Mario and Tamberlik.1 He is offended because he believes that their profession is “not thought of [as being] among possible destinations for the sons of English gentlemen.”2 As this quotation suggests, opera was seen as a particularly unsuitable occupation for a man in nineteenth- century Britain, for which there were two main reasons. Firstly, music was widely considered to be a feminised pursuit that compromised the perceived masculinity of men who were professional singers.3 Secondly, the identity of British singers was complicated still further, since opera attracted prejudice as an Italian art form that was frequently imagined to be at odds with the British character.4 Due to such attitudes, it became imperative for British male opera singers to assert their masculinity, respectability, and national identity. The genre of autobiography offered these men a unique chance to do so, and a number of singers across the century seized the opportunity.5 Although the majority of these autobiographies have hitherto been neglected by scholars, they are complex and often unusual works that deserve 1 George Eliot, Daniel Deronda, vol. 1 (Edinburgh & London: Blackwood and Sons, 1876), 306–7. 2 Eliot, 1:308. 3 For more information on music as feminised, see: Corissa Gould, ‘Aspiring to Manliness: Edward Elgar and the Pressures of Hegemonic Masculinity’, in Masculinity and Western Musical Practice, ed.
    [Show full text]