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Home , Arthur Hammerstein, Emma Trentini, Natoma (opera), Orville Harrold, Oscar Hammerstein I, Otto Hermann Kahn

News From VHSource, LLC Vol 6 June 2011 A Masterpiece Rises From Ashes!

a dozen theatres from Harlem to 34th street and How Does One Appease singlehandedly launched the only real challenge the An Angry Giant! Metropolitan Company ever had to face in its first 75 years. The mighty Met lost that competition, but managed to “win” in a way that led s this writer sat watching a wonderful directly to one of Herbert’s greatest composing production of ’s Naughty achievements. AMarietta produced by the College Light Opera Company of Falmouth, Cape Cod last summer, some As early as 1906 while Hammerstein was enjoying dates and facts began flitting through my mind, and an his Opera Company’s wildly successful amazing theory suddenly popped into my mind with first season, he suggested that America needed a first regards to this classic American . The reader rate American in English and Herbert may be hard pressed to find the following concept was the man to write it.(see Vol 7 July 2010 for voiced in any of the currently published examinations closer look at the Hammerstein career and life) of Marietta or . However, if one Nothing was officially on paper, and the two had places all the events and dates in their proper order, never talked about such an endeavor, but Oscar was common sense dictates that this stunning creation – always “News.” The same reporters who constantly arguably one of the finest American ever culled Oscar’s thoughts now gravitated to the created – may very well have been simply “payback” aforementioned composer for his opinions on the for a catastrophic mess in which Victor Herbert and subject. Oscar Hammerstein I found themselves emotionally embroiled. Marietta arose out of nothing within three It’s fair to note that both men could be herculean months (from contract to first rehearsal) from (1) the talkers. Herbert was gregarious by nature, and rarely skeletal remains of the proud four-year-old suddenly said anything that he couldn’t back up. Hammerstein defunct , (2) the brilliant was almost the exact mind of an angry opposite, which often composing genius, and prompted the critics of (3) the producing talents the day to “doubt” of a son who needed to almost all of Oscar’s solve the havoc he had pronouncements. The inadvertently created in New York Tribune’s saving his father leading critic, Henry financially. Edward Krehbiel (1854–1923), who had Oscar Hammerstein I followed and written of was the larger than life Herbert since 1886, “epitome” of early openly doubted a Broadway before it even Herbert/Hammerstein was Broadway. He built opera almost from the Oscar Victor 2 News From VHSource, LLC Vol 6 June 2011 moment he heard the first rumblings. When was Herbert’s view of the virtues of overtures versus Hammerstein actually announced an American Grand preludes – he admitted he was a prelude man. Opera around February 1907, stating “He [Herbert] will Overtures were “a resume of the production, a write it, and I will produce it” during the Manhattan condensation of all the dramatic action in a work.” Opera Company’s upcoming 1907-1908 season, The composer felt an overture “gave away too much Krehbiel went on record with the idea that even Herbert by summarizing the entire score” while a prelude was couldn’t write Grand Opera that fast. an “independent standalone piece which simply put audience in the mood for understanding and enjoying By March 1907, America was abuzz with the what was to come.” The composer had already shown possibility of an American Opera, as well as the ever such an inclination with the openings to both Babes growing “opera wars” between Hammerstein’s In Toyland and Little Nemo, but it was definitely a Manhattan Opera Company and the grand “new idea” in the opera world, and thus, major news. Metropolitan. Theodore Thomas had spent a large part of the 19th century educating the American population There was one minor lack that kept the skeptics from coast to coast as to the joys of fine Overtures to active. By the end of the summer of 1907, the all the European during his constant tours with composer and the producer still had no libretto, and the Thomas . even more importantly, no one even under consideration to write one. One could now safely rule Now came Hammerstein, who represented the average out a 1907-1908 performance. Never at a loss for American and introduced the “new” (particularly answers, Hammerstein declared that would be easily French opera) while the Met represented the wealthy solved as he was prepared to pay $1,000 for any and the German traditions. Hammerstein demanded and finished libretto that laid out the American story he got “acting and meaning” from his singers; the Met was looking for, especially if it was written by an allowed theirs to “stand and sing beautifully.” American! Just wave the money and a libretto would Hammerstein drew a knowledgeable crowd, the Met come, and it did – in October, although its writer, drew those wanting primarily to be seen. The incredible Joseph Deighn Redding (1859-1932), never appears importance of all these positionings may be a bit tough to have collected that $1,000. to understand from a 2011 point of view. Opera is certainly not a primary love of the majority of today’s Exactly where and who iPod and iPad population. However, in 1907, with no found this libretto also television, no radio, and a new fangled phonograph just lies in murk. Redding beginning to really make inroads into American homes, was from the West Coast talk of opera was “news from home.” where he belonged to the San Francisco Bohemian Just as Shakespeare’s groundling audiences Club. He came East and could understand the vocabulary of his plays, so could promptly joined the the huge German and Eastern European immigrant Lamb’s Club in New population which had spread across our land warm to York. Most likely he a competition involving one of their favorite would have run into entertainments from the “old country.” Many Herbert almost Americans knew opera well, had had their favorites immediately. Did back across the sea, and warmly welcomed the Redding come east with possibility of seeing and hearing it more - especially if his libretto in hand to do it could come from the ranks of their newly adopted just that? Again, no country. definite clear answer Joseph D. Redding exists but it would make circa 1926 Even though no contract existed, Herbert granted an good sound sense. It is interview on April 8, 1907 as to how he would go about also not clear when Herbert began composing the composing a grand opera should he be so inclined. One score, but one would assume, it would have been of the fascinating aspects to come from that interview almost immediately. The libretto treatment Redding 3 News From VHSource, LLC Vol 6 June 2011 presented had a native Indian, Spanish, American love definitely on both sides of the proverbial fence. One triangle theme, was set in , and most might say the deck was quickly stacked against Oscar importantly, pleased both composer and impresario. Hammerstein.

Why it took all parties until Jan 16, 1909 to sign a The following situation formal contract is also unclear. However, that contract has always remained clearly stated that Herbert and Redding were to deliver murky at best, but the completed work no later than January 15, 1910. sometime during January, Hammerstein was to give the opera a first class Arthur and Otto began to production with a 65 piece orchestra during the second discuss a possible merger half of his Manhattan Opera Company’s 1909-1910 of the Manhattan and the fourth season. The completed opera entitled was definitely finished 11 months later in November companies to solve the well ahead of January 15, 1910 delivery date as financially disastrous documented in letters from Redding to his family. competition. Oscar was Unfortunately, Hammerstein now had a huge problem winning the battles but – he was winning the opera wars, but in doing so, he losing the financial war. was bankrupt by January 1910, less than half way He was a one man Otto Kahn through his fourth season. In short, Oscar had no cash impressario - no boards - with which to produce the Herbert opera as contracted. no wealthy sponsors against an entrenched - well By March 1910, he wasn’t even in the country. endowed - highly placed society organization.

In this scenario, the leading Space here does not exist this month to really tell this player suddenly became story (it definitely bears telling at a later date). However, it became quite clear almost immediately (1872-1955), Oscar’s oldest that Oscar’s personality and the Metropolitan’s son and his primary right history could not accommodate a merger. According hand man for all his to author Vincent Sheean in his book, Oscar productions and theatre Hammerstein I, (Simon and Schuster, New York building projects. Arthur 1956), Arthur went so far as to send Oscar overseas had patiently endured three in early March to get his huge and unpredictable ego and a half seasons of out of the way. Did Oscar know why? Probably. producing the Manhattan While he constantly lived his life in denial of Arthur Hammerstein Opera Company’s seasons - financial realities, he was not a dumb man, and he a task he hated. He had also trusted Arthur to do what was best for all. One can become friends with (1867- only assume that Oscar’s financial state must been 1934), a wealthy banker and connoisseur of the arts, dire indeed. Sometime during early March 1910, who had often attended the Manhattan Opera Arthur, acting on behalf of his now absentee father, Company’s performances and was very respectful of signed an agreement with the Metropolitan Opera the work coming from that company. Mr. Kahn was a Company agreeing that neither Oscar Hammerstein man who desperately wanted into the New York opera nor his son Arthur Hammerstein would produce any scene, while Oscar wanted NO part of wealthy opera during the next ten years in exchange for a patronage no matter what his bank account said. Mr. $1.25 million dollar settlement. That agreement was Kahn saw an involvement in solving these “opera wars” never shown to anyone, and thus no true date seems to be beneficial to himself and was correct. In the to exist. The infusion of cash solved the decades ahead, Otto Kahn become a pivotal player with Hammerstein family finances, but immediately ended the Metropolitan Opera Company. A third major player Oscar’s ability to produce opera in New York, in the “opera wars” negotiations was E.T. Stotesbury, Boston, or . Natoma was who both held Oscar’s mortgages and served as a effectively orphaned with only Arthur in town to deal director of the Metropolitan Opera Company - a person with Herbert. 4 News From VHSource, LLC Vol 6 June 2011

On March 18, 1910, the revenues and attendance, constant belittling of the Metropolitan Opera Met’s singers, repertoire, acting, and the incessant Company produced crowing and pontificating about the glorious A m e r i c a n F r e d r i c k American Grand Opera that Hammerstein and Shepherd Converse’s Herbert were creating – all wrapped up in one simple (1871-1940) The Pipe of stroke. Any non-angry, non-desperate person could Desire. Coincidence? see it would be a waste of time to even approach the Probably not. If you were a Met for a tryout. However, when an artist has created proud, long established a new production, particularly a score of which institution, had been he/she is terribly proud and just bursting to hear, it is harassed by a particularly not a stretch for that person to throw common sense Frederick Converse annoying non-musician to the wind and make a upstart who, because he built theatres, felt he was better weak, even disastrous at opera than you were, and you had negotiated the choice. Gatti-Casazza must death warrant for his company, it might prove very have been almost gleeful rewarding to promptly produce your own American in putting America’s opera and drive the last nail into the coffin containing greatest composer in his the last four years of hype. proper place - unworthy of serious consideration. One Speaking of all that hype, the fever pitch at which can almost feel the distain American emotions and expectations built towards echoing down the years as Herbert’s opera is hard for us to imagine today. The he delivered the news – parallel in 2011 would be the summer blockbuster film perhaps not even in which the movie industry hypes to death during the person. “Take that, Mr. preceding two or three months until there is no way the Mighty Victor Herbert.” Giulio Gatti-Casazza product can possibly match the audience’s anticipation, and they come away disappointed. That condition We are now up to mid-April 1910. Did Naughty would eventually overtake Natoma at the end of her Marietta exist? No. April had to have been fraught story. For the time being in 1910, with that stroke of a with discussions (probably quite unpleasant) pen, the balloon burst quickly and unexpectedly for regarding the stranded Natoma and the dangling Victor Herbert. He had been in the theatrical business Manhattan Opera Company. The devastated since 1894 – sixteen years, 24 productions, and never composer seeking redress and the properly apologetic once had a work which was finished ever failed to be eldest son trying to calm rising tempers, sparred produced. This was a first. Herbert was most likely futilely while Oscar remained safely in , his furious when given the news that his written contract pockets now lined with $1.25 million 1910 dollars. with Hammerstein was voided by a written agreement The nimble Arthur (still longing to produce on between Hammerstein and the Met. The whole Broadway) quickly seized his opportunity, and situation would have been extremely embarrassing for happily resolved the dilemma! He pointed out that all parties concerned except, of course, the the Met agreement said nothing about operetta or Metropolitan Opera Company, which could finally . They still had the resources of the entire catch its own financial breath and return life to normal. Manhattan company to utilize (singers and orchestra) and wouldn’t be spectacular in Amazingly and perhaps not very wisely, Herbert went operetta – especially given the way Herbert so far as to ask for and receive from the Met an composed for great voices? Oh, and by the way, orchestral tryout (no voices) of Natoma’s second act on while Arthur was forbidden to produce opera, he the afternoon of March 29, 1910. It’s unclear whether would be happy to produce a new Herbert operetta. Met General Manager Giulio Gatti-Casazza (1869 – While this writer does not wish to paint a less than 1940) rejected it that day or waited until the next. How stellar picture of Arthur Hammerstein, he did get could he not? Here was the perfect opportunity to pay exactly what he was looking for out of the whole back the absentee Hammerstein for four years of falling situation. 5 News From VHSource, LLC Vol 6 June 2011

A contract was signed for said new operetta, tentatively strongly disagreeing with both men as they wax entitled, Little Paris (soon to become Naughty poetic on how Marietta got its launch. It was a Marietta), in May 1910. It is not difficult to come to “Sturm and Drang” year in Herbert’s life which the conclusion that this new operetta was a payback, an would have taken its toll on anyone. It is truly appeasement of one of the most famous, influential miraculous that out of all this turmoil came a and, at the time, angry composers in America. Given masterpiece of a work. There is, of course, much Herbert’s known temper, he may very well have been more to the Natoma story as well, but we will save justifiably ready to tear the absent Oscar Hammerstein the rest for July. apart, especially after being further humiliated by the Met production of Converse’s opera and then his own subsequent rejection. Once again in less than five years, Spotlight On . . . Herbert was having what he considered a brilliant Naughty Marietta (1910) work, (first and now this crowning achievement of his career), being ripped away from he operetta Naughty Marietta was Herbert’s him. Taking Hammerstein to court over breaking their 25th work produced on Broadway. You’ve just January 16, 1909 contract was probably far too mild a Tread an interesting theory as to how the project solution on Herbert’s mind. was launched. Let’s now examine the work itself. This score caused noted historian and musicologist There can be little doubt that the period from January Curt Sachs (1881 – 1959) to include Herbert’s name 1 to May, 1910 was a frantic, mad dash to save Natoma on his European Operetta Masters list of Franz von as it plunged headlong over the proverbial cliff. The Suppé, Johann Strauss II , Jacques Offenbach and opera would finally find a production on February 25, Arthur Sullivan. Pretty heady company for an 1911 in Philadelphia, and from May to September American composer. 1910, Herbert would compose what is arguably his best known operetta masterpiece which would produce not When one looks at both the libretto and the published one or two, but at the least five of the most significant /vocal score, the first thing that jumps off the arias in the American operetta repertoire. Arthur page is “Mr. Oscar Hammerstein presents”. As we happily moved out of the hated opera producing now are well aware, Oscar did not produce Naughty business and into the Broadway producing world. Marietta, son Arthur did. To explain this, consider the circumstances: this was Arthur’s first solo What of Oscar, who had been banished to at the venture, Oscar was dashing back and forth between beginning of those negotiations? Immediately upon New York and London, launching a new theatre receipt of the cable from Arthur in March regarding the building project, Arthur had just gotten his father 1.25 million settlement, he bought land for a new opera banned from producing opera in America for ten house in London. He returned to New York on July 15, years – it was a wise choice not to push the issue by 1910 and stayed long enough to reopen his Manhattan claiming the top spot for himself. He simply chose to with a production of an operetta, Hans, be listed as the production manager. Jacques Coini the Flute-Player by Louis Ganné on September 12th of the Manhattan Opera Company was the stage and then immediately sailed back to London. It would director, , also of the Manhattan seem highly doubtful as some have said that he even company was the music director and conductor, and saw Marietta’s opening night. Frederick Landau was the concertmaster of the pit orchestra which was in fact the Manhattan Opera No Hammerstein biographer even mentions Herbert Company orchestra. Before the company went on its during this period with more than a passing sentence. first tour, Maestro Merola would hand over his baton Waters and Gould both paint a wonderful, tension free, to William Axt (1888 – 1959), a young man also on rosy discussion of the creation of Marietta. In Waters the Manhattan staff, who had been labeled, “Oscar’s case, that may have been due to the firm overseeing Toscanini” during the Opera wars, and who would hand of Herbert’s daughter Ella who strove mightily to become a major Hollywood composer of more than keep an disparaging word from tainting her father’s 200 film scores. The librettist was Mrs. Rida memory. Suffice it to say this is my first encounter with Johnson Young (1875- 1926) – a woman! 6 News From VHSource, LLC Vol 6 June 2011

Yes, a woman For now suffice it to say, Mrs. librettist in 1910, and wrote a very good plot and even better characters. that libretto deserves Marietta (Emma Trentini), Captain Dick (Orville far closer attention Harrold), Etienne (the pirate masquerading as a than most all the dandy), his superbly lazy father, the Lt. Governor, Herbert librettos Adah, (Etienne’s quadroon mistress), Rudolfo (the preceding it. Mrs. puppeteer whose “son, she isa girl”), Simon O’Hara Young, a divorcee and Lizette – all rich three dimensional characters w h o w o u l d whom the audience cared about initially and still do. eventually enter the Even the governor’s secretary, Florenze, has some Songwriters Hall of really delicious scenes. NOTE: if you have ever Fame in 1970, was a wondered exactly when Simon O’Hara became Silas Slick, staff librettist for here is your answer. At some point during the second year Witmark & Sons. of touring, Arthur Hammerstein changed Simon’s name While the majority of partially in an effort to significantly tone down the ethnic humor criticism. her work for that Rida Johnson Young John Guidinger Collection venerable publishing In brief, a titled young Italian woman, Marietta, who house was of the one act variety, she had in 1906 does not wish to be forced to marry by her family, achieved a major Broadway success with her full length runs away, masquerades as a “casket girl” from play Brown of Harvard. This play also had a song, , and lands in the New World. She finds “When Love Is Young,” for which Mrs. Young had herself strongly attracted to the rough American written the lyrics. It seems likely that Isidore Witmark Ranger, Captain Richard Warrington, as well as a would have been the one who suggested Mrs. Young to rather handsome dandy, Etienne Grandet, who just Herbert for this production. happens to be a notorious pirate on the side. Our heroine also has an unfinished melody constantly While the critics of the time were not overwhelmingly running through her head which she has been told in favor of Mrs. Young’s work, finding it filled with a can only be completed by her real true love. The plot bit too much ethnic low humor, when VHSource went has Marietta constantly hiding out (first in a fountain to work on the original for a West Coast company back and then dressed as the returned son of Rudolfo, the in 2005, a very sound, solid story emerged from a script local puppeteer), flirting with both Dick and Etienne written extensively in dialect. What exactly is while playing them off of each other, and finally “dialect?” The dictionary defines it as a “provincial, landing smack in the middle of a difficulty arising rural, or socially distinct variety of a language that between Etienne and his quadroon mistress Adah. differs from the standard language, especially when Marietta is shocked when Etienne decides to “sell considered as substandard.” In short, Mrs. Young tried Adah,” who has made the unforgivable mistake of to write all of her dialogue in the dialect befitting each falling in love with him, her owner and master. exotic character. This resulted in lines which were NOTE: To be very clear, it was the ethnic low humor of almost unintelligible to the ear even though they were Simon and Lizette whose first appearance on stage is a decipherable on paper, especially in the case of Simon very broad comical pursuit of a rather large, silent “red” and Lizette. Any librettist will admit if the audience Indian, that bothered the reviewers, not the very real slave can’t hear the meaning, the writer has totally defeated ownership issues of the relationship between Etienne and his/her purpose of choosing to use colorful language. Adah. Modern producers severely dissipate the plot of When all the dialect was scrubbed away from the lines, Naughty Marietta if they choose to remove that a very well written plot emerged which was probably relationship in order not to offend anyone. The existence and reality of quadroons were very real, complex and one of the best Herbert ever had to work with – and all important issues that were handled very tastefully by Mrs. this from the pen of a woman – also a first for Herbert. Young. It would not be the last woman he would work with, and each time he received some of his best librettos. Keeping in mind that the contract for this work was We’ll explore that idea in much more detail at a later signed in May 1910, Mrs. Young went to work date. almost immediately and even journeyed to Lake 7 News From VHSource, LLC Vol 6 June 2011

Placid during the month of June to work with Herbert arrives with the on the outline and development of the libretto and aria “Naughty lyrics. This was possible because the VHO’s five week M a r i e t t a ,” gig at Willow Grove Park ran from July 10 through d e s c r i b i n g August 13 in 1910 (data provided by David Rowland, h e r s e l f a s Upper Moreland Historical Association). NOTE: the c a p a b l e o f starting dates for the VHO Willow Grove gigs fell frequently being “very, in either June or July, ran four to five weeks, and most likely very good” and were tied to Herbert’s composing needs in any given year. “horrid,” all at Herbert would have had to work with Mrs. Young before he the very same could write the music. It would be safe to assume that a large time. Here was bulk of the Marietta score was written in Willow Grove Park in the studio reserved for conductors in the back of the band a c o m p l e x shell. Herbert always acknowledged that he had to have at character – no least a libretto treatment and lyrics before he could begin his typical two composing, thus answering the question in Herbert’s case as dimensional to which came first, libretto treatment and lyrics or music. c a r d b o a r d cutout. Marietta Emma Trentini and both came from h a d f i r e , the Manhattan Opera Company, which now truly had sexuality and a nothing to do. Arthur utilized 130 people in his cast q u i c k , including the 20 principals, the entire opera orchestra wonderful temper. She is one of the first truly (65 pieces) and its artistic staff. Never before or since unpredictable American operetta characters. She and had New York audiences seen a finer assemblage of Captain Dick agree to be just friends in one of the serious musical talent on a Broadway stage in a first anti-love duets, “It Never, Never Can Be Broadway show. In the finale of Act I, there is a full Love.” NOTE: Both Marietta and Captain Dick need lots complement of Italian citizens faced off against a full of easily reached and sustained high Cs. Captain Dick’s complement of French citizens in angry argument, role has suffered the most because of this requirement. backed up by the entire troop of Rangers, a corps of Almost every famous actor following Orville Harrold and dancers, Mexicans, Indians, Spaniards, street vendors playing Dick, including and Alfred Drake, and sweepers, etc., etc., etc. The choral sound alone has been a . The truly glorious of the times resided either in opera companies or in Ziegfeld’s Follies must have been magnificent, and Victor Herbert was and rarely found their way back into Marietta. Therefore, always at his best when he knew that the cast could renters beware that all the original materials call for this easily sing anything he wrote. He particular loved to original voice assignment for Dick and he needs to be use high tenors in lengthy choral passages and an opera every bit the high coloratura that Marietta is. company easily provided that type of voice. There is probably as much Grand Opera in Marietta as there is A rare Herbert contralto aria for the quadroon in Natoma – perhaps even better Grand Opera in many character Adah results in the lush “’Neath The ways. The angry American composer would not be Southern Moon” immediately before one of the denied. major comic elements woven through the plot – Marietta pretending to be a boy – results in the No American operetta score has launched more major classic “Italian Street Song.” That’s five classic songs into the operetta classic repertoire than Naughty contributions to American music before the Act I Marietta. Act I gave the audiences a rich almost Finale is reached. There is also the atmospheric operatic “Opening Chorus” as dawn is greeted by the number “Taisez Vous,” where we meet the Casket average citizens of New Orleans awakening to work (a Girls, seeking husbands with an ample dowry kept in forerunner to the opening to Oliver in 1968). “Tramp, their “caskets” and a true comic relief song, Simon Tramp, Tramp,” which introduced Captain Richard O’Hara’s “If I Were Anybody Else But Me,” an Warrington and his Rangers became the American amazingly demanding aria for what was essentially a model for men’s marching songs, preceding “Stout burlesque comic who envisions himself Hearted Men” by more than 17 years. Marietta herself stepping into the shoes of a true pirate – in his 8 News From VHSource, LLC Vol 6 June 2011 dreams. Of course, throughout the entire First Act, we caricature one can possibly imagine – all in heavy hear fragments of a lovely melody which Marietta has dialect. However, the really huge problem with this been told can only be finished by her true love. song is its placement between “I’m Falling In Love With Someone” and the Grand Finale, thus making it Now we come to the 11:00 song which should be very important – it what truly separates wasn’t! It literally stopped the show, as the play Herbert from the rest suddenly veers into the “Simon show” even further of the “boys” – Act with a overly long comic sketch with Simon, Lizette II. If one takes the and the Lt. Governor involving a swallowed whistle. time to truly study Modern producers should feel absolutely no remorse American operetta, at choosing to cut this song entirely. one finds a distinct and relatively The other strange song is “The Sweet By and By.” frequent lack of large The original published lyric for the song clearly numbers of new makes it the Lt. Governor’s song. However, in the songs beyond Act I. published piano/vocal’s Musical Numbers Listing, Often Herbert’s peers the song is assigned to Lizette. The lyric in the music and successors reads thus: appear to run out of “gas” a bit in Acts II, I AM A MAN OF COMPROMISE, III, and IV, and as a NO STERN DECREES FOR ME, UPON THE SILVERY SEA OF LIFE result the audience is Orville Harrold as I SAIL COMPLACENTLY. frequently “reprised” WHEN GRAVE AFFAIRS OF STATE ARISE, to death. That is simply never the case with Herbert. AND THINGS ARE OFF THE TRACK, Rarely does the word “reprise” even appear in a I CLOSE DEBATE, SAY CALMLY “WAIT! Herbert score. In the case of Naughty Marietta, the ‘TIL THEODORE GETS BACK.” highlights keep rolling right straight through to the This is clearly NOT a song for Lizette. The Grand Finale. If one chose to leave at intermission, one “Theodore” reference is to the absent Governor would miss: “Marry A Marionette,” “Loves of New Theodore Lafarge. What’s the story? Most likely the Orleans,” “Live for Today,” “I’m Falling In Love actress playing Lizette complained fairly early in the With Someone,” and finally the entire “Ah, Sweet Broadway run or just before the opening about her Mystery of Life.” Again, not a single reprise, with one character having no solos while Simon had two solos tiny exception – the final “tag” is one last chorus of plus several huge scenes. The actor playing the Lt. “Italian Street Song” to send the audience streaming Governor probably did not particularly care and gave into the streets humming. In addition, there is dance up his only song to our poor neglected soubrette. For music in Act II, Scene I for Marietta and the puppets, some reason the news got to Witmark & Sons to fix yet another purely atmospheric song, “New Orleans the List of Musical Numbers, but the message never Jeunesse Dorée” for male chorus at the beginning of trickled down to the person setting the lyrics to the Act II, Scene II, and the comic relief songs including song. Depending on which printing of the original “Pretty Soft for Simon,” and the strange “The Sweet piano/vocal score you acquire, you will either find By and By.” That’s eight new songs in Act II. the first situation, making it a true first edition, or you will find a set a lyrics for Lizette, making it a “Pretty Soft for Simon” is a song that often gets cut later printing that corrected the error while retaining today for two reasons. Remember the critics weren’t in its 1910 publishing date. Here’s the corrected first love with either Simon or Lizette with most reviewers verse for Lizette: commenting on the ethnic humor being either too extreme or simply unneeded. Nowhere is this more I AM A MAID, A PRETTY MAID, expressed than in the song “Pretty Soft for Simon” A DAINTY TOUCH-ME-NOT! which allows Simon to proclaim himself the equal of NO MAN CAN SAY THAT HE FROM ME, King Solomon himself with every extreme Jewish THE SLIGHTEST FAVOR GOT! 9 News From VHSource, LLC Vol 6 June 2011

THOUGH HOSTS OF SUITORS, MAD WITH LOVE, receipts. Those 17 weeks translated into 136 PURSUE ME DAY AND NIGHT, performances. The production then left to go on a I CALMLY SAY, "STAY, VILLAIN STAY!" I WAIT FOR MISTER RIGHT! planned tour, although not because of falling ticket sales. Marietta played well over 500 performance in Another minor tale from this libretto is the infamous total, before Ms. Trentini was scheduled to move into Voodoo Queen character complete with a song, a new show to be written for her by Herbert with “HooDoo, Mr. Voodoo.” Suffice it to say this Otto Hauerbach (1873-1963 – later spelled character was a bit of local exotic flavor in the original Harbach) and produced by Arthur Hammerstein. “go into rehearsal” script who did not make it to Broadway and thus into the original published Ms. Trentini quickly became one of the big three piano/vocal. She definitely resides in the early libretto, Herbert divas - , Fritzi Scheff and but is just barely used in the first act only with this Emma Trentini (1878-1959). She accomplished this relatively weak song by Herbert’s and the rest of the feat based on only one role, Marietta. Of those score’s standards. Somewhere during early tryout illustrious ladies, only Ms. Trentini had only one performances, she disappeared. “HooDoo, Mr. show written for her by Herbert. The amazing Voodoo” was published as a sheet music offering. coloratura dazzled audiences for two full years with While the verse is relatively anemic, the number does her sparkling and effortless vocal agility and her fiery sport a fun, if not very challenging, chorus. The Victor portrayal of Marietta. It would be difficult to say how Herbert Renaissance Project resurrected the character the three voices actually compared, but of these three to serve as a “Narrator” in its version, still minus her spectacular voices, only Ms. Trentini had the truly song. She was the one character who could truly unique distinction of “blowing it” with Mr. Herbert. “know” all. This VooDoo Queen is also available with In short, he refused point blank to ever write another her song in a lightly edited original libretto available note for her. How could such a talent cause that sort from VHSource (you can actually go with her or of reaction? without her now) and yes, we do have the orchestrations to go with the song. She refused to sing an encore of “The Italian Street Song” in one of the last performances of Marietta at The production went into rehearsals in September of the West End Theatre in Harlem during the 1911- 1910 and had its first ever performance in Syracuse at 1912 season. The company was finishing its storied th the Wieting Opera House on October 24, 1910. The run in Harlem to celebrate Oscar Hammerstein’s 25 company then moved on to Rochester and finally year as a builder of New York theatres. Herbert was Buffalo on October 31 before opening on Broadway at the performance himself to honor the huge New York Theatre (located at 1514-16 Hammerstein and also because it was the end of the Broadway at 44th Street). run. The young woman ignored the composer’s indication for an encore, not once but twice, actually walking off the stage when Herbert began the encore music. Herbert put down his baton, left the pit himself, and told William Axt, the regular conductor to go finish the production. Presumably Herbert left the theatre, but there is no indication that Ms. Trentini did not finish the performance. She simply did not wish to sing an encore, no matter who held the baton in the pit. At this time, Herbert had already signed a contract with Arthur to write the singer’s Hammerstein’s Olympia (1895) later bought by next show with Hauerbach. The next day, Herbert Klaw & Erlanger and renamed The New York. informed Arthur Hammerstein that, contract or no Marietta played seventeen weeks in New York, contract, he would not have any further dealings with grossing an average of $20,000 per week with a top Ms. Trentini. For her part, she apparently realized her ticket price of $2.00. Ms. Trentini made $1,000 a week error and was most contrite, but it was too late. while Herbert earned a 3% royalty on the gross Hammerstein began scrambling desperately to find a 10 News From VHSource, LLC Vol 6 June 2011 composer who could equal Herbert. Failing that, the Orchestra days. Generally speaking the VHO was new producer eventually settled on an unknown serious never a touring ensemble beyond its lengthy sojourns composer by the name of (1879 -1972) at Willow Grove Park. who composed his first operetta, , as a substitute for Herbert. One can only speculate on the Speaking of the Orchestra – from possibilities which might have flowed from Herbert’s November 18-19, 1910, Herbert was in Pittsburgh for pen for Ms. Trentini’s glorious voice had her petulance meetings regarding resuming the conductorship of not destroyed the relationship. the PSO. It appears that Herbert’s successor had managed to run the ensemble into It cannot be denied that Naughty Marietta was a major bankruptcy as well as alienate the local musicians by step forward, and a significant forerunner to much in hiring only Europeans. Herbert urged a $1,000,000 both American operetta and even the modern musical, endowment to protect against a repeat of financial including the landmark, Show Boat – sound plot difficulties, but talks collapsed very quickly with the (although hidden at the time in dialect) – great result that the PO ceased operations before the year characters – incredible score. Yet there was a major was out, not to reappear in any concert hall again difference which future shows would not be able to until May 2, 1926. The best reasons for these failed build upon. Marietta had a composer who orchestrated talks would have included the immediate projects on his own music while the next major milestone in the Herbert’s composing plate (the newly opened American Musical, Show Boat had a composer, Marietta and the still orphaned Natoma situation), (a master song writer indeed) who and the fact that Herbert had his own orchestra needed the services of orchestrator Robert Russell controlled solely by himself. He no longer had either Bennett to make his score truly soar. Herbert was the need or desire to conduct a classical orchestra. probably the last major American theatre composer who did his own orchestrations, and thus totally One other rather interesting side bar to Herbert’s controlled the sound of his own work in every case – exceptionally busy 1910 was a favor he appears to that is an often ignored fact of major significance. have done either for Henry Blossom or for Charles B. Dillingham in serving as a silent score doctor VHSource offers you a wealth of performance with no acknowledgment for a production entitled materials for this show – individual songs with The Slim Princess. The libretto was by Blossom, the orchestrations. And coming next month both a very music by Leslie Stuart (1863-1928), the British producible original Marietta as well as the Victor composer of Floradora in 1899, and the production Herbert Renaissance Project’s semi-staged concert was in the capable hands of Charles B. Dillingham. version first done with Patrice Munsel in 2006 at New The work was based on a story by George Ade (1866 York’s Lincoln Center. The full orchestrations in clean – 1944) dealing with a country where obesity was a digital and hard copy formats are available from virtue. Dorwart Press and digital versions will be available for licensing, purchase or permanent loan in July. The production, starring Contact [email protected] for full details. Elsie Janis, opened at the Star Theatre in Buffalo on September 8, 1910, about The Rest of 1910 the same time Naughty Marietta was moving into he Victor Herbert Orchestra (“VHO”) office rehearsals. Its official New announced a first ever “Spring Southern Tour for York opening didn’t occur T1911” in order to attract cities throughout the until January 2, 1911 in the South interested in having the VHO give a concert in Globe Theatre (built in their area. Herbert and his ensemble had thoroughly 1910 at 206 West 46th Street enjoyed the whirlwind one week Lambs Fund Raising and later renamed the Tour of 1909, and Herbert decided it was time to tour Lunt-Fontanne in 1958), a again -- something he had not done since his Pittsburg Elsie Janis rather lengthy tryout period 11 News From VHSource, LLC Vol 6 June 2011 which may indicate the team faced some significant at the Dorothy and Lewis B. Cullman Center problems along a rather long bumpy road from first located in the library at Lincoln Center, New York performance to Broadway opening. It’s unclear as to City. This summer exhibit features a half dozen the exact timing of Herbert’s involvement but it had to rarely exhibited handwritten scores by Victor Herbert have been after composer John Golden’s song “My from the Library of the Yankee Doodle Girl” was also interpolated into the Orchestra. work, and most likely a bit after the September 8th Buffalo opening. By that time the music for Naughty June 9-11, 2011, Thursday - Saturday, 7:30pm all Marietta would have been completed, its scores and evenings, the Canton Comic Opera Company, parts in the creation phase and the cast busy creating Joseph Rubin, Artistic Director, will present a the production for an October 24th first ever special concert production of George M. Cohan’s performance in Wieting Opera House, Syracuse, New 1904 musical comedy, Little Johnny Jones in Cable York. Recital Hall, Canton Cultural Center for the Arts, 1001 Market Ave. N., Canton, Ohio 44702. Tickets Edward Waters found Herbert’s autograph 2nd Act and more information are available now on-line at the Finale scores and a piano/vocal version among the CCO web site or call the Box Office at (330) papers given to the LOC by 470-0835. Herbert’s daughter, Ella Barlett. Melody lines from Beginning Saturday, June 18, 2011, Ohio Light “My Yankee Doodle Girl” Opera offers its 35th season at the College of are referenced throughout Wooster which includes: Camelot, Jubilee, Madame the finale, a typical Herbert Pompadour, The Merry Widow, The Pirates of sized dramatic end to Act II, Penzance, Triple Bill (Cox and Box, Trial by Jury filled with character spoken & Evening Wind). performs all its and sung dialogue, a short productions at the Freedlander Theatre, Wooster, dance episode, a huge choral Ohio. Visit OLO on-line for exact dates and ticket ending and a dramatic purchases. curtain flourish by the orchestra. It is probably a Tuesday, June 28, opens the College Light Opera tossup as to who actually Company’s 43rd Season in Falmouth, Cape Cod. and asked Herbert to assist – each Tuesday thereafter, closing August 27th. A very young Ella Blossom or Dillingham – Offerings include: Trial By Jury and The Pirates of either one had the sort of Penzance, Sweeney Todd (Sondheim), Call Me relationship which would have allowed them to Madam (Berlin), Kiss Me Kate (Porter), The approach the composer with such a request. It was Vagabond King (Friml), Wonderful Town possibly just a result of Herbert’s tremendous sense of (Bernstein/Comden & Green), On the Twentieth loyalty to both men. Perhaps VHSource can come up Century (Coleman/Comden & Green), Oklahoma! with the published piano/vocal for this work. (Rodgers and Hammerstein), and Man of La Mancha (Leigh & Darion and Wasserman). Visit CLOC on- line to see the details of this company’s season and Upcoming June Concerts purchase tickets.

hile June appears to be sadly lacking in Herbert concerts, it is time to get that Upcoming July Concerts Wvacation schedule out, and see if any of the following fit your schedule. eginning Wednesday, July 13, 2011, Ohio Light Opera opens Herbert’s The Fortune Opening in May and running through August 13th , The BTeller (1898) for five performances (19, 23, New York Library of the Performing Arts presents and 28) throughout. Visit the Ohio Light Opera web the free exhibit Ireland America: The Ties That Bind site for full details about the dates and times of each 12 News From VHSource, LLC Vol 6 June 2011 performance and to purchase tickets. NOTE: The indication, it will be a beautiful operetta summer. majority of the performances appear to be matinees Peter Hilliard did a fine job in giving his audience rather than evenings so do check out the schedules a June 30, 1920 Victor Herbert Orchestra evening carefully. Visit OLO’s on-line Box Office to purchase concert with The Strawbridge and Clothier tickets and obtain more information. Chorus. Of course, all those major players needed stand-ins and Peter, the Abington Choral Club and July 15-17, 2011, Friday, Saturday at 7:30 pm and the Old York Road Symphony proved more than up Sunday at 2 pm, the Canton Comic Opera Company, to the task. It was a delightful remembrance of the Joseph Rubin, Artistic Director, will present a full Willow Grove Park musical offerings. The next day, production of 's My Maryland, A John Philip Sousa IV led the Allentown Band in a Musical Romance of the Civil War (1927) in the Glen Re-Creation of his famous name-sake’s annual Oak High School Theatre, 1801 Schneider Street N.E., concert sojourn at Willow Grove Park. Canton, Ohio 44702. Tickets and more information are available now on-line at the CCOC web site or call the Hopefully, I have not missed your summer concert Box Office at (330) 470-0835. offering. Should that be the case, just e-mail me at [email protected], and we’ll publish it in the next newsletter. Upcoming August Concerts Congratulations to (Le) Poisson Rouge, a ednesday, August 3, 2011 at 8pm, Concert multimedia art cabaret founded by musicians on the Operetta Theater and Ocean City Pops site of the historic Village Gate, which has won WOrchestra will join to present, Remembering ASCAP's 2011 Victor Herbert Award for Romberg! on the historic Music Pier on the Boardwalk "courageous and visionary...commitment to creating of Ocean City, New Jersey. The evening will explore an environment which invites audiences to share and Maytime (1917), The Student Prince (1924), Desert enjoy adventurous programming of the full spectrum Song (1926), My Maryland (1927), New Moon (1928), of music of our time." Viennese Nights (1930) and The Night is Young (1935). Artistic Directors, Daniel Pantano and I had a great time with this month’s issue. You may William Scheible will take you on a nostalgic walk very well find things you disagree with, and that’s through this American operetta composer’s fine work. great. It’s time we thought about, discussed and Visit the Ocean City Pops on-line for all the debated these forgotten times and days. There were information you need for tickets and directions. amazing relationships, tensions and jockeying for position, all of which paved the way for what we Thursday, August 4 at 7pm and again on know today as the American musical stage. Wednesday, August 10, at 2pm, Ohio Light Opera presents it’s final performances of Herbert’s The Have a great month! Fortune Teller (1898). Visit the Ohio Light Opera web site for full details about the dates and times of each performance and to purchase tickets.

Two places can supply referenced back issues you may like to read: The E-Book section of Shop VHSource has the 2009 Alyce's Musings . . . VHS Year Book and 2010 VHS Year Book (both searchable research tools); or if the issue is a 2011 one, simply login to y adventure to Willow Grove, www.vhsource.com and choose Archived Newsletters in the User Menu. If you are not logged in, you will not see a User PA for the Herbert Re- Menu. MCreation Concert, “Sing A Song of Yesteryear,” (mentioned last All newsletters are available to registered users of month) got the summer activities off to www.vhsource.com. Simply follow the link, create a user and password and enjoy this newsletter delivered to you inbox an early start. If that concert was any every month.