VICTOR HERBERT" the Glamorous Career of the Most Beloved of American Composers, Idol of Broadway and the Nation!

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"The Life and Loves of VICTOR HERBERT" The Glamorous Career of the Most Beloved of American Composers, Idol of Broadway and the Nation! THRILLING STORY . .. Out of the real life of the Master of Operetta Paramount has fashioned a screen play that packs in its telling the romance, heartbreak, triumph and glory of the greatest light opera composer of our times. Victor Herbert's early days, his first love, his debut in America, great moments in his musical career, opening nights of his operettas, backstage drama, and his final triumph ... all are told against the pulsating life of the Broadway that knew Diamond Jim, Fritzi Scheff, Mary Garden, Oscar Hammerstein, Florenz Ziegfeld, and many other great figures of the gaslight era I THRILLING MUSIC ... From the pen of Victor Herbert, among whose immortal operettas are "Naughty Marietta," "Mlle. Modiste," "Natoma," "Babes in Toyland," "The Fortune Teller" ... among whose ever-remembered songs are "Kiss in the Dark" and ":Riss Me Again"... comes the music which will glorify this picture. His melodies are the greatest favorites of the radio listening public. His audience is numbered in the millions ... and although he is gone, his memory will live in "The Life and Loves of Victor Herbert." A GREAT CAST ... For the name part, Paramount will choose a star of the first magnitude who can play to the hilt this fun-loving genius, whose passion for song and wine and good living made him the most popular man in the theatre of -his time. Supporting players will be picked with an eye to the grand musical possibilities of the production as well as for box-office power. .

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The Red Mill Music by Victor Herbert Book and Lyrics by Henry Blossom
The Red Mill Music by Victor Herbert Book and Lyrics by Henry Blossom Performing version edited by James Cooper Cast of characters “Con” Kidder “Kid” Conner } Two Americans “doing” Europe Burgomaster Burgomaster of Katwyk-aan-Zee Franz Sheriff of Katwyk-aan-Zee Willem Keeper of The Red Mill Inn Capt Davis Van Damm In love with Gretchen Governor of Zealand Engaged to Gretchen Gretchen The Burgomaster’s daughter Bertha The Burgomaster’s sister Tina Barmaid at The Red Mill Inn, Willem’s daughter Hon. Dudley (pronounced “Fanshaw”) Solicitor from London touring Holland by Featherstonhaugh car with his daughters Countess de la Pere Touring Holland by car with her sons Giselle and Brigitte Dudley’s daughters Hans and Peter Countess’s sons or villagers Rose and Daisy Flower Girls Gaston Burgomaster’s servant Chorus of peasants, artists, burghers and other townspeople Time: 1906 Place: Katwyk-aan-Zee Act I: At the sign of The Red Mill Act II: The Burgomaster’s Mansion 1 Musical Numbers Overture 4 Act I 1. By the Side of the Mill 12 2. Mignonette (Tina and Girls) 27 3. You can Never Tell About a Woman (Burgomaster and Willem) 34 4. Whistle It (Con, Kid, Tina) 41 5. A Widow Has Ways (Bertha) 47 6. The Isle of Our Dreams (Davis and Gretchen) 51 7. The Streets of New York (Con and Kid and Chorus) 58 8. The Accident (Ensemble) 68 8b. When You’re Pretty and the World is Fair (Ensemble) 81 9. Finale I – Moonbeams (Gretchen, Davis and Chorus) 92 Act II 10. Gossip Chorus (Ensemble) 107 11.
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The Fortune Teller the OHIO LIGHT OPERA STEVEN BYESS STEVEN DAIGLE Conductor Artistic Director the Fortune Teller
VICTOR HERBERT The Fortune Teller THE OHIO LIGHT OPERA STEVEN BYESS STEVEN DAIGLE Conductor Artistic Director The Fortune Teller Music......................................Victor Herbert ENSEMBLE: Book and Lyrics......................Harry B. Smith Jacob Allen, Natalie Ballenger, Sarah Best, Lori Birrer, John Vocal Score Reconstruction........Adam Aceto Callison, Ashley Close, Christopher Cobbett, Mary Griffin, Anna-Lisa Hackett, Geoffrey Kannerberg, Andy Maughan, Ohio Light Opera Olivia Maughan, Evan McCormack, Geoffrey Penar, Will Perkins, Madeline Piscetta, Zachary Rusk, Mark Snyder, Raina Thorne, Artistic Director........................Steven Daigle Angela Vågenes, Joey Wilgenbusch. Conductor.................................Steven Byess Stage Director.......................Ted Christopher Sound Designer..........................Brian Rudell PROGRAM NOTES ...............................Michael D. Miller Choreographer.....................Carol Hageman Victor Herbert, acknowledged as Costume Designer.................Whitney Locher the Father of American Operetta, Scenic Designer...............................Erich Keil was born in Dublin in 1859, the Lighting Designer.....................Krystal Kennel grandson of Irish novelist-artist- Production Stage Manager...Katie Humphrey composer Samuel Lover. The family eventually moved to Stuttgart where CAST: Victor’s initial studies toward a Musette / Irma...........................Amy Maples career in medicine or law were soon Sandor...........................David Kelleher-Flight replaced
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Herbert's Songs: Designed for Classical Singers A
HERBERT’S SONGS: DESIGNED FOR CLASSICAL SINGERS A CREATIVE PROJECT PAPER SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE DEGREE MASTERS OF MUSIC BY LAURA R. KRELL DR. MEI ZHONG-ADVISOR BALL STATE UNIVERSITY MUNCIE, INDIANA JULY, 2012 Herbert’s Songs: Designed for Classical Singers Introduction Victor Herbert has undoubtedly provided America some of its greatest, most tender, romantic, invigorating, and challenging songs for soprano. Today, Herbert’s masterworks appear simultaneously in both Musical Theater Anthologies and Operatic Collections. Many students encounter questions as to performance practice: can these songs be sung as “musical theater,” with young, immature voices, or should they be studied by classical singers? Despite the pool of speculation swirling around this issue, there has not been any significant research on this particular topic. This study will detail the vocal abilities of Herbert’s most prolific sopranos (Alice Nielsen, Fritzi Scheff, and Emma Trentini), and identify compositional elements of three of Herbert’s most famous arias (“The Song of the Danube,” “Kiss Me Again,” and “Italian Street Song”), using historical data to demonstrate that each composition was tailored specifically for the versatility and profound vocal ability of each opera singer, and is poorly mishandled by those without proper classical training. The writer will offer observations from three amateur online recordings of “Art Is Calling For Me.” The writer will use the recordings to highlight specific pitfalls untrained singers may encounter while singing Herbert, such as maneuvering coloratura passages, breath control, singing large intervallic leaps, and the repeated use of the upper tessitura.
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Precious Nonsense
Precious Nonsense NEWSLETTER OF THE MIDWESTERN GILBERT AND SULLIVAN SOCIETY June 2001 -- Issue 63 Of course, you will understand that, as Chancellor of the Exchequer, I am bound to see that due economy is observed. There's nothing like a bargain. W ith the postal rate on letters weighing more than an ounce going up on July 1, it seemed like a good idea to try to get a "fat" newsletter out before the change. So here we are. Although we're lacking any play synopses this time around, we do have the answers to last year's Big Quiz, plenty of news of G&S productions, and some interesting insights from Arthur Robinson. So let's see how it goes. Oh, Members, How Say You, What is it You've Light Opera at (330) 263-2345 / www.wooster.edu/OHIOLIGHTOPERA/ . Or e-mail Done? [email protected]. And their address is The We were saddened and pleased to learn that MGS College of Wooster, Wooster, OH 44691. member and frequent G&S lead performer David Michaels is leaving the Chicago area for Seattle. Sad because he’s Although Light Opera Works isn't presenting any G&S going, and glad because he’ll be seeing more of his family this season, they do have an interesting program for youth, (and able to report on G&S activity in Washington State)! featuring, among other things, an opportunity to work on a Best wishes for his move and his future! production of The Pirates of Penzance. Their Musical Theater Summer Workshops (“for kids 8 to 18") this year By the way, someone asked what our membership include Annie (July 9-14, 2001), Pirates of Penzance (July statistics are, after the renewals were returned.
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1914 the Ascap Story 1964 to Page 27
FEBRUARY 29, 1964 SEVENTIETH YEAR 50 CENTS New Radio Study 7A^ I NEW YORK-Response Ratings, a new and unique continuing study measuring radio station and jockey effectiveness, will he 'r, launched in next week's issue. This comprehensive radio analysis- another exclusive Billboard feature-will he carried weekly. Three different markets will be profiled in each issue. It will kick off in the March 7 Billboard with a complete study of the New York, Nashville, and San Francisco markets. In subsequent weeks, the study will consider all key areas. This service has been hailed by broadcast The International Music -Record Newsweekly industry leaders as a major breakthrough in station and personality Radio -TV Programming Phono-Tape Merchandising Coin Machine Operating analysis. Beatles Business Booms But Blessings Mixed Beatles Bug BeatlesGross r z As They 17 Mil. Plus Paris Dealer, 31-4*- t 114 In 6 Months 150 Yrs. Old, Control Air NEW YORK - In the six By JACK MAHER six months prior to the peak of Keeps Pace NEW YORK - While a few their American success, Beatles manufacturers were congratu- records grossed $17,500,000 ac- Story on Page 51 lating the Beatles for infusing cording to EMI managing direc- new life and excitement into the tor John Wall. record business others were This figure, which does not quietly venting their spleen include the huge sales of Beatles against the British group. records ín the U. S., shows the At the nub of their blasphe- staggering impact the group has mies was the enormous amount had on the record industry t r 1.+ra.
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Representing a Christian Nation: Sacred and Providential Discourses in Opera in the United States, 1911–1917
Representing a Christian Nation: Sacred and Providential Discourses in Opera in the United States, 1911–1917 AARON ZIEGEL Abstract As the genre of American opera was coming of age during the 1910s, composers and librettists began to incorporate the materials of sacred music into the operatic context with surprising frequency. This often took the form of prayer arias, sacred choruses, hymnody, or choral apotheoses, examples of which appear in Frederick Converse’s The Sacrifice (1911), Victor Herbert’s Natoma (1911), Mary Carr Moore’s Narcissa (1912), and Henry Hadley’s Azora (1917). These composers modeled their efforts after familiar European precedents, including Wagner’s Lohengrin, Gounod’s Faust, and Meyerbeer’s Les Huguenots, among other works. Close examination of the music, however, reveals a distinctively American approach in which sacred materials function to reinforce statements of patriotic nationalism. By situating these long-overlooked American operas alongside contemporaneous commentary on the United States’ sense of its sacred purpose, this article illustrates how the composers and librettists sought to participate in the discourses of providentialism, the “Christian nation” concept, manifest destiny, and “True Americanism” in order to craft a characteristically national style. The inclusion of sacred musical ingredients thus helped redefine the genre for US listeners, as the operas’ characters give voice to their Americanness through the sacred music they sing. A woman prays to God seeking strength and perseverance through troubled times. A recent convert narrates a dream-vision in which the coming of Christ is revealed. A congregation sings hymns of praise. A choir performs an anthem based upon a liturgical text.
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***Current Draft OPERA
CLAIRE LEYDEN Email: [email protected] www.ClaireLeyden.com Cell: (914) 523-0359 5’ 5” / Red Hair / Blue Eyes UPCOMING Der Freischütz (Dec 2019) Bridesmaid/Chorus Heartbeat Opera Dir. Louisa Proske The Debutante (Nov 2019) Elaine (lead) Victor Herbert Renaissance Project Live! Dir. Alyce Mott Iolanthe (Oct 2019) Ensemble New York Gilbert and Sullivan Players Dir. Albert Bergeret OPERATIC ROLES PERFORMED The Pirates of Penzance Mabel Riverside Center for the Performing Arts Dir. Catherine Flye Il barbiere di Siviglia Berta Teatro Lirico d’Europa / Opera NH Dir. Giorgio Lalov Suor Angelica Suor Genovieffa Narnia Vocal Arts Festival, Italy Dir. Maria Rosaria Omaggio Gianni Schicchi Nella Narnia Vocal Arts Festival, Italy Dir. Maria Rosaria Omaggio The Merry Widow Valencienne New Rochelle Opera Dir. Camille Coppola Così fan tutte Despina Divaria Productions, NYC Dir. Anton Armendariz Diaz Sweethearts Sylvia (lead) Victor Herbert Renaissance Project Live! Dir. Alyce Mott The Enchantress Vivien (lead) Victor Herbert Renaissance Project Live! Dir. Alyce Mott La Traviata Flora New York Opera Collaborative Dir. Andrea DelGiudice Rigoletto Giovanna/Countess Teatro Lirico d’Europa Dir. Giorgio Lalov SELECTED MUSICAL THEATRE / PLAYS Sherlock Holmes and the Jersey Lily Mrs. Tory/Kitty Bristol Valley Theater Dir. Karin Bowersock HEIST! A New Musical Cynthia Stitskaya The Players Theatre (Off-Broadway) Dir. James Will McBride Yeomen of the Guard / Pirates Ensemble New York Gilbert and Sullivan Players Dir. Albert Bergeret Princess Ida Princess Ida (cover) Village Light Opera Group Dir. Emily Cornelius The Sorcerer Aline Sangazure College Light Opera Company Dir. Mark A. Pearson The Yeomen of the Guard Kate College Light Opera Company Dir.
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Kiss Me Again
In G (b tf) g) In A (c# tf) a) In Bb (d tf) b£) • ,~ -Il-j741 ~ SUNG BY MISS FRITZI SCHEFF Soprano (c# a)!~~~ or Tenor (lead)to f¥j! and Contralto ca# c#) ~~~ to ~ or Baritone ~ fjl _-.J! TtliTitten on the Theme of IF I WERE ON THE STAGE FROM THE COMIC OPERA LYRIC BY 50Zo 60 cents net QUARTET_MALE FEMALE AND MIXEDVOICES 15 CENTS EACH NET OPERATIC ., . I.L '.~ Weal Duell \ 75P Nut ... HWiTNARK (S2 SONS, NEW YORK .CH I CAGO • LO N DON. P R INTEO IN U.S.A. ", ~ MOLLY An Irish Love Song Lyric by 80.10 Two Keys - .F, rc to f) M, ret to at) Music by RIDA JOHNSON YOUNG VICTOR HERBERT RathfiJr slowly. , I~ 1 .. ... '" . r-3';--- Mol - ly dear, the 3 ~ Noh, 1Jl~ ;1' fiJ I I r :$ ____ ~r~~ ., I 1 p ::::~ "if ~ ~ ~ P ate",~ ___ I' ---------, - , - - - _. , It ..- I ., ... Spring is here} And birds- their mates are call - ing; Tbeyre nest - ing now and t ~--- ..:~~ ~ -~ ~ f~-'- ::~~ . ---- - _. ::: ~ ~ '-----r' '1-:... -~= ~-----./ - -:;j , ten. -.. ~ I- ..- • -. so should we, For shel-tered- close we too must be, When dam is fall ing.~ - - ------ ten. 3 .- I- T ~' 8:::::: .,..:I: ~ - PT--::: ~ ~ :;; ~ .---- ~~(J ~ ; ,-' ------ 1- ;;;;;- ------ -- . :----. - , I L~ ~---; . ------ '---.It r"--V , _. .- It poco 1"Il. ..... - ~ ... , ~ Oh,.Mol-ly dear, the hon-ey bee The blush-ing rose is ~ S.,.... _____ .' ,~,. ..~ -'" I" .. • ~ 0,.- -:!=- 1'., J~j)~-- pr a tempo f V-r 1 r -I . - I---.. <. .. .--- I~I . r----- Published and Copyrighted MCMXIX by M.Witmark & Sons..7 Witmark BUilding,NewYork . CHICAGO ····SAN FRANCISCO .". LONDON •..• PARIS ......................................,............................................•........................·····················································1 i Complete Cop}es can be had wherever Music is sold.
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Untitled, It Is Impossible to Know
VICTOR HERBERT ................. 16820$ $$FM 04-14-08 14:34:09 PS PAGE i ................. 16820$ $$FM 04-14-08 14:34:09 PS PAGE ii VICTOR HERBERT A Theatrical Life C:>A<DJA9 C:>A<DJA9 ;DG9=6BJC>K:GH>INEG:HH New York ................. 16820$ $$FM 04-14-08 14:34:10 PS PAGE iii Copyright ᭧ 2008 Neil Gould All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means—electronic, mechanical, photocopy, recording, or any other—except for brief quotations in printed reviews, without the prior permission of the publisher. Library of Congress Cataloging-in-Publication Data Gould, Neil, 1943– Victor Herbert : a theatrical life / Neil Gould.—1st ed. p. cm. Includes bibliographical references (p. ) and index. ISBN-13: 978-0-8232-2871-3 (cloth) 1. Herbert, Victor, 1859–1924. 2. Composers—United States—Biography. I. Title. ML410.H52G68 2008 780.92—dc22 [B] 2008003059 Printed in the United States of America First edition Quotation from H. L. Mencken reprinted by permission of the Enoch Pratt Free Library, Baltimore, Maryland, in accordance with the terms of Mr. Mencken’s bequest. Quotations from ‘‘Yesterthoughts,’’ the reminiscences of Frederick Stahlberg, by kind permission of the Trustees of Yale University. Quotations from Victor Herbert—Lee and J.J. Shubert correspondence, courtesy of Shubert Archive, N.Y. ................. 16820$ $$FM 04-14-08 14:34:10 PS PAGE iv ‘‘Crazy’’ John Baldwin, Teacher, Mentor, Friend Herbert P. Jacoby, Esq., Almus pater ................. 16820$ $$FM 04-14-08 14:34:10 PS PAGE v ................
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Opera and Operetta Are Chronicled in the Belknap Opera
The high notes from the world of Opera and Operetta are chronicled in the Belknap Opera MUSIC OPERA AND OPERETTA The high notes from the world of Opera and Operetta are chronicled in the Belknap Opera/Operetta ephemera collection. The great performers, performances, showplaces and companies are included in this melodically colorful compilation of material. OPERA AND OPERETTA LIBRETTI: Miscellaneous libretti filed alphabetically by show title in 5 Hollinger boxes (3 linear feet). Each folder contains at least one English translation, but many have multiple and varied versions. INTERNATIONAL OPERA COMPANIES: Miscellaneous ephemera filed alphabetically by country in 3 boxes (4.5 linear feet). USA OPERA COMPANIES: Miscellaneous ephemera filed alphabetically by state in 4 boxes (6 linear feet). OPERA AND OPERETTA PROGRAMS: Miscellaneous programs and ephemera filed alphabetically by show title in 17 boxes (25.5 linear feet.) For more information on the Belknap Collection for the Performing Arts contact: Jim Liversidge University of Florida George A. Smathers Libraries Department of Special and Area Studies Collections PO Box 117007 Gainesville, FL 32611-7007 (352) 273-2759 email: [email protected] Copyright © 2003- University of Florida George A. Smathers Libraries. Department of Special Collections P. O. Box 117007 Gainesville, FL 32611-7007 (352) 273-2755 https://www.uflib.ufl.edu/spec/belknap/opera/opera.htm[2/1/2021 4:26:35 PM] OPERA and OPERETTA LIBRETTI OPERA AND OPERETTA OPERA & OPERA AND OPERETTA LIBRETTI Miscellaneous libretti, filed alphabetically by title, in 5 boxes (3 linear feet). Each folder contains at least one English translation, but many have multiple and varied versions.
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Herbert in Pittsburgh
From the "Idol's Eye" to "Tristan":Victor Herbert in Pittsburgh Robert F. Schmalz University of Southwestern Louisiana For nearly a century, the cities of Philadelphia and Pittsburgh have been represented by two of the nation's finest orchestral ensembles. Although colorful and sometimes controversial personalities spice the histories of both organiza- tions, Victor Herbert's mercurial career as conductor of the Pittsburgh orchestra is particularly noteworthy. Indeed, during his brief tenure in Pittsburgh the composer of "Babes in Toyland" and "Naughty Marietta" exerted an extraordi- nary influence on the musical life of his adopted city. Victor Herbert succeeded Frederick Archer to become the second conduc- tor of the Pittsburgh Symphony Orchestra in 1898, only the fourth season of the orchestra's existence. Inheriting an organization which was confused and divided over Archer's dismissal, the thirty-eight year old conductor launched a six-year association which proved to be a rewarding experience for the city, the orchestra, and the conductor alike. Those who anticipated a new beginning were not disappointed. Herbert brought with him to Pittsburgh a decidedly popular image. Born on February 1, 1859, he was the grandson of Samuel Lover, an Irish novelist, poet and songwriter. He had pursued a musical career in Germany, studying at the Stuttgart Conservatory. Herbert toured France, Germany and Italy as cello soloist with the Stuttgart Orchestra in the late 1870's and early 1880's. It was during this period that he produced his first compositions, completing both a suite and a concerto for cello and orchestra, as well as several songs.
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A Celebration of Paul Whiteman's Historic Aeolian Hall Concert of February 12, 1924
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