News From VHSource, LLC Vol 3 March 2015 The Rest of the Herbert/Ziegfeld Story

new Broadhurst Theatre (235 West 44th Street An Enduring Partnership between Broadway and 8th Avenue) on November 12th (a mere seven days after Miss 1917 opened). o continue our exploration of the relationship between Victor Herbert and Florenz Ziegfeld, let’s There now falls a rare lull in the composing life of Treview a bit in case you may be coming at this Victor Herbert. There would be no Victor Herbert newsletter for the first time. You can of course read the operetta or musical comedy on Broadway during the full discussion of both The Century Girl (1916) and Miss year 1918. While there was a Follies of 1918, there 1917 in Vol 2 February 2015. As we stated last month, was no participation by Herbert. The entire world was Ziegfeld was so taken with Herbert’s big production engaged in one way or another in The Great War (aka number capabilities that he had the composer write a World War I). Gone was all Irish rhetoric from 1914 major finale, “Can't you hear your country calling?” for to 1916 in favor of Germany overcoming England. In the Follies of 1917 which opened June 12, 1917. By the April of 1917 Irish American Herbert who had been so way, you might be interested to know that by 1917 vocal in support of Germany, now lead the way in Ziegfeld had a complete roster of star comics: Bert totally supporting “our American boys” as American Williams, Fanny Brice, Leon Errol, W. C. Fields, Will troops rushed into the war to aid the Allied side. Rogers and Eddie Cantor. NOTE: Ziegfeld set out to create a “melting pot” of American points of view. Errol was Australian It would not be until the 11th hour (am) on the 11th (immigrant) and Fields was from Philadelphia (old school native day of the 11th month of 1918 that the “War to End son). Williams contributed the black ghetto perspective, Rogers All Wars” would finally come to an end. Europe had was the western cowboy, and Brice and Cantor represented the been engulfed since July 28, 1914 so America was not Jewish viewpoint. only late in joining the Allies We also reported that during 1917, just to add a little but also not perspective to all of this, Herbert had opened his Irish involved on her Opera (his term) Eileen on March 19, 1917 in the Shubert own continent in Theatre. In addition and rather incredibly, somehow, any way. All the between composing for the Follies of 1917 and Miss 1917, troops were in mid-July and August, after a three week gig at Willow “Over There” to Grove with his Victor Herbert Orchestra, Herbert managed quote George M. to compose his 38th operetta. Cohan. That left plenty of time for Her Regiment had its birth in the wilds of Lake Placid in A m e r i c a n the Adirondack Mountains at Herbert’s summer retreat, citizens to decide Camp Joyland. Its first ever production was on October 22, that all those 1917 in the Court Square Theatre, Springfield, among them who Massachusetts. Its Broadway opening was at the brand were immigrants 2 News From VHSource, LLC Vol 3 March 2015 from the wrong side were the enemy and needed to be actually interned in the middle of the orchestra’s rounded up and sent home. 1917-1918 season and eventually deported. The CSO season had to be completed This idea translated into a lot of anti-German sentiment with guest conductors around the country. German nationals were automatically including Victor Herbert. It classified as "enemy aliens" unless they had become is a testimony to Herbert’s naturalized citizens. According to Wikipedia: standing in America that even after all his very loud President Woodrow Wilson issued two sets of regulations political proclamations in on April 6, 1917, and November 16, 1917, imposing favor of Ireland against restrictions on German-born male residents of the United Britain from 1914 through States over the age of 14. The rules were written to 1917, and his own extensive include natives of Germany who had become citizens of years studying and playing countries other than the U.S.; all were classified as aliens. cello professionally in Some 250,000 people in that category were required to Maestro Kunwald register at their local post office, to carry their registration Vienna, that there appears to card at all times, and to report any change of address or have been no call to deport him. This was most likely employment. The same regulations and registration due to the composer having become a naturalized requirements were imposed on females on April 18, 1918. citizen in 1902. Neither of the two gentlemen Some 6,300 such aliens were arrested. Thousands were mentioned above had ever taken such a step. interrogated and investigated. A total of 2,048 were incarcerated for the remainder of the war in two camps, Herbert actually was more than happy to fill in with Fort Douglas, Utah, for those west of the Mississippi, and the Cincinnati Symphony. While his Victor Herbert Fort Oglethorpe, Georgia, for those east of the Orchestra was hugely popular and rewarding for him, Mississippi. Herbert thoroughly enjoyed standing in front of a traditional classical orchestra and programming for Unfortunately, this line of thought such an ensemble. He conducted three sets of concerts directly affected two major in Cincinnati: January 11 and 12, January 25 and 26 American orchestra conductors. The and February 8 and 9, 1918. The orchestra presented first was Karl Muck (1859-1940), Tchaikovsky, Berlioz, Sibelius, and Wagner (German conductor of the Boston Symphony, – a very brave choice) in the first set. The second whose controversial use of a concert brought Mendelssohn, Beethoven, Édouard particular version of the “Star Lalo (French) and Coleridge-Taylor, while the last Spangled Banner” led to such series featured Goldmark (Hungarian), Saint-Saëns audience ire and anti-German and (finally) Herbert. feelings that it altered BSO His sole selection of his Maestro Muck programming and seemed to own work was his suite accelerate the eventual deportation of Muck simply for orchestra, Woodland because he was German. The conductor did try to replace that suspect version of our national anthem but to his Fancies, Opus 34. This credit, he also never pointed out that it was, in fact, the work had been Victor Herbert arrangement which was extracted from the composed in 1901 for last movement of the composer’s American Fantasia the Pittsburgh Orchestra written in 1898 for the Pittsburgh Orchestra. The and would not be offending version was replaced with one arranged by the published until 4 years Boston concertmaster (1st chair violin), Anton Witek, who after his death in 1924. also happened to be German, eventually was himself Here was the serious suspected of enemy sympathies, and also deported. classically trained conductor at his best for Maestro Herbert those who may never have thought to rank Herbert Another affected conductor, Ernst Kunwald (1868-1939), among our very best classical musicians. In looking the Viennese conductor of the Cincinnati Symphony was 3 News From VHSource, LLC Vol 3 March 2015 over the array of composers Herbert chose to offer the their old band conductor Victor Herbert to come back citizens of Cincinnati, his early champion and boss, to service and restore the band to musical superiority. conductor Theodore Thomas (1835-1905), himself no A patriotic minded 59 year old Herbert actually said stranger to the Cincinnati populace, would have been very yes. He was commissioned a Lieutenant and ordered proud of how his young solo cellist had matured. not only to rehearse the band but to give band instruction to promising recruits two times a week in Back in New York, Herbert and the Victor Herbert the evening. It’s a bit tough to envision the premier Orchestra participated in various events raising money for American composer at the peak of a long career the war effort. He also wrote an operetta which holding “band class.” It would not be surprising if unfortunately has never seen the light of day, although all Herbert had had a few second thoughts about his its scores and orchestra parts are intact in the Library of patriotic gesture. Fortunately this was 1918, the war Congress. This work, The House That Jack Built was to would be over by November and the band lessons have been produced in the Fall of 1918 and have a libretto never really materialized. However, he did take the by Edward Childs Carpenter (1872–1950), author of a time to write a new march “The Defendam March” for total of 14 Broadway plays (comedies for the most part) the organization, dedicating it to his commanding between 1909 and 1944. Unfortunately, the production officer, Colonel H.H. Treadwell. was shelved for some reason despite Herbert finishing an entire score and having had parts prepared. Carpenter Thus, Herbert and Ziegfeld were not involved at all would go on to create a musical libretto for Melody in during 1918. However, the theatrical producer would 1933 with music composed by Sigmund Romberg (1887- once again call upon Herbert for the Follies of 1919. 1951). However, in 1918 it would appear that he never In case you might be wondering where these Follies created the Herbert libretto. were taking place, Ziegfeld had begun The Follies in 1907 at the Jardin des Paris, the roof top theatre Herbert also spent significant time during the spring and seating 900+ in the summer months of 1918 working on several patriotic New York Theatre. compositions that bear mentioning. There was a very In 1913 he moved the successful cantata for solo, chorus and orchestra entitled production to the The Call To Freedom. It was first performed during the New Amsterdam, 214 Victor Herbert Orchestra’s annual stay from June 23 to West 42nd Street July 13 in the Willow Grove Amusement Park in between Seventh and Pennsylvania. The VHO joined with the famous Eighth Avenues. The Strawbridge & Clothier Chorus (employees of the famous New Amsterdam, Philadelphia Department Store) directed by Herbert J. Tily built in 1902-1903 to present this very patriotic work which also had lyrics was also owned by written by Herbert himself. This is a fine work which has Klaw and Erlanger long been neglected primarily because it does not fare well and seated 1702. The without a large chorus and full orchestra. Herbert wrote Follies had become also two marches that summer, “All Hail To You, such a huge affair Marines!” a tribute to America’s fighting services with every year that Ziegfeld employed multiple composers words by Richard J. Beamish and “The Defendam March” for every edition. Irving Berlin would rejoin Herbert for the New York 22nd Regiment Band. to write for the Follies of 1919. Berlin offered a key song in this outing as he began making a transition The latter song deserves a bit more explanation. Those of from ragtime to lyrical ballads: "A Pretty Girl is Like you who have been regular readers of these articles a Melody." Its popularity was so great that it became probably recognize the NY 22nd Regiment Band, better the theme for all of Ziegfeld's revues. known decades earlier as Gilmore’s Band (pre-1900). With America participating in a global war, the NY 22nd Herbert only contributed two numbers to this Follies Regiment National Guard Unit was looking at the as he was fully occupied with his own composing possibility that they might be activated and called upon during the same year: #39 The Velvet Lady – a 4 News From VHSource, LLC Vol 3 March 2015 modern piece made up of short popular dance type songs, 2008, the Follies of 1919 was considered the best of opening Feb 3, 1919; #40 Angel Face – musically better all the Follies both up to that year and later. It was than The Velvet Lady and opening December 29, 1919; Marilynn Miller’s (1898-1936) first Follies, and and, fascinatingly, #45 Dream Girl (technically completed Ziegfeld made sure it was the Follies to end all Follies. during 1919 with librettist Rida Johnson Young, although This was the loveliest of Follies: Victor Herbert, the not produced until April of 1924 and then on Broadway in dean of music, lending sheer prestige, contributed the August, 1924). Librettist Henry Blossom died suddenly, show’s Big Ballet, while Berlin and Kern were the from a severe case of pneumonia, a month after The Velvet “wisenheimer” new kids on the block with Berlin Lady opened. With old standby operetta producer controlling this particular score. His offerings Dillingham having moved on to compete on a more regular included “You Cannot Make Your Shimmy Shake on basis with Ziegfeld, Herbert found himself faced with Tea,” “Harem Life,” “I’m the Guy That Guards the relatively new producers hiring him. Harem,” and the aforementioned “A Pretty Girl Is Like A Melody.” This latter number was brand new With Blossom no longer available to recommend, these in 1919, uniting lovely music and pulchritude to newer producers fell back into using Harry B. Smith and perfection for the first time. his entire family for libretto and lyric work. Unfortunately, the Smith family was hardly in tune with a new popular Herbert’s big ballet was set in the circus simply song/dance theme and delivered strongly old fashioned because Ziegfeld wanted Marilynn Miller to enter on material. Herbert’s discontent with this situation may well a big white horse. It proved to be such a stunning explain the one-of-a-kind Herbert compiled medley of his entrance that producer Dillingham would steal it six own songs – a first for the composer – showing up in years later when he did his own Miller work, Sunny Angel Face. Perhaps it was a reaction to working on three (1925) which featured Oscar Hammerstein II as co- new scores at the same time, but whatever the reason, it author of both book and lyrics with Otto Harbach. The appears to be the only time the composer ever resorted to Library of Congress contains the following Herbert such a short cut. full scores from the 1919 Ziegfeld Follies: “Circus Ballet” (Act II Finale for Marilynn Miller) and Duet Getting back to the Follies of 1919, this particular outing Act I “Dispossessed” (Orch parts as well). was filled with interesting quirks including the Prince of Moving on to 1920, Victor Herbert found himself Wales being in attendance. continuing to cope with the effect of the loss of Ziegfeld kept all scores and librettist Henry Blossom for a decent libretto. From orchestra parts for all Follies this time forward, one must label the majority of presentations in the basement Herbert’s output musical comedy, as opposed to of the New Amsterdam. When operetta. To be honest and fair, Herbert showed a real the Prince announced that he effort to adapt to the ever burgeoning popular song was looking forward to and dance number craze. The composer would churn hearing “That’s the Kind of a out three musical comedies beginning with #41, My Baby for Me,” he didn’t Golden Girl opened on February 2, 1920; #42 Oui realize it was from a different Madam opened on March 22, 1920 in Philadelphia, Follies. The entire show never making it to Broadway; and #43 Girl in the Cantor is 1926 paused dramatically as Eddie Spotlight opened on July 12, 1920. Oui Madam was Cantor came out to announce an interpolation in the Herbert’s attempt at an intimate musical in the same evening’s program. Meanwhile assistants rushed to the vein as both his own experimental one act opera basement to pull the score and parts as Cantor charmed the Madeleine (1913) and the Kern-Wodehouse-Bolton audience to cover the change of program. Ziegfeld always Princess Theatre Musicals. Unfortunately, the Oui delivered! Madam libretto called for a huge cast, the direct opposite of “intimate” and attempted to open in a 300 According to Ethan Mordden, author of Ziegfeld, The seat house. It failed miserably before ever coming to Man Who Invented Show Business, St. Martin’s press, Broadway. Its librettist? G. M. Wright was the 5 News From VHSource, LLC Vol 3 March 2015 librettist while Harry B. Smith was listed as lyricist. God! In French musical plays the author can make Wonder of wonders, G. M. Wright just happened to be vulgarity pass for entertainment. [Musical America, Mrs. Harry B. Smith. Unfortunately, the family got totally April 3, 1920, p.22] involved in Girl in the Spotlight when the librettist was listed as Richard Bruce, and just happened to be Robert Ziegfeld had not forgotten one of his favorite B. Smith, brother of Harry. One might say that our composers, and as he built the Follies of 1920 which composer was totally done-in during 1920 by the family opened June 22 at the New Amsterdam, he hired Smith. Herbert to contribute the following:

Each of the producers who hired Herbert in 1920, did so “Creation” the second scene in Act I a pictorial and musical characterization of feminine qualities with the admonition – “short, snappy numbers for the (timidity, vanity, softness, cruelty, warmth, coldness, modern audience.” Herbert was even being asked by fidelity, etc.); reporters what was going on. His answer proves very fascinating given his personal history as well as a bit “Chiffon Fantasia” the fifth scene, contained the song revealing as to the modernization of the American musical “When the Right One Comes Along;” and comedy away from the more traditional operetta format. Asked why his scores seemed to have gone away from his Act II featured the “The Dancing School” and the normal style, Herbert replied: “The Love Boat” – a fantasy of romantic Venice.

One very interesting phase of the question is the growth of While this was Herbert’s largest contribution to date, the music publishing business. Songs from successful there are no full scores available in the Library of plays are printed in great numbers and are the source of Congress. great profits. In order that these songs may sell, they must have words that are independent of the play – that is, on The year ended with Ziegfeld finally producing a some general theme and attractive to the person that has musical comedy with Jerome Kern (1885-1945). The not seen the play. I think that this may have had its effect in weaning us (the composers) away from comic opera in resultant Broadway show was Sally, which opened on which lyrics are woven into the plot and are part of it. Broadway on December 21, 1920, also starring [N.Y. Dramatic Mirror, Feb. 28, 1920, p.361] Marilynn Miller. The production was extraordinarily successful, but as it includes Victor Herbert, we will Given the lack of success for the three 1920 Herbert save this discussion for next month’s look at the scores, Herbert still longed for a theatre of his own and Herbert/Kern relationship. when the subject was continually raised by reporters simply stated: Ziegfeld would continue his relationship with Herbert for the remainder of Herbert’s life. Why? Herbert was Yes, I do, and I’m hoping that it comes to a realization the reigning American theatrical composer at the time, next season. I would like to have a theatre that would and no one had really displaced him. Absolutely no indefinitely stand for notable musical productions, one could compose big production numbers like building up in time a clientele and a reputation such as Herbert. Ziegfeld knew the talent at his disposal, as have come to be identified with Mr. Belasco’s playhouse. well as the frustration Herbert had to have been I would like to revive there my old successes as well as feeling working with the embryonic producers who present there my new operettas. were hiring him. The Follies were the biggest thing in New York in their heyday from 1918 through 1931. In the same year, Herbert was exceeding kind as he waxed It was THE place to work, and allowed Herbert to do poetically about librettists in general: what he did best – score huge, sweeping descriptive production numbers – something that was horribly It is very difficult to write a plot for a musical comedy. The musical numbers are constantly interfering with the lacking in his musical comedy work in 1919 and 1920. action; every time a song is introduced, the plot is thrown down on the floor like a piece of old rope, and interest in In 1921, the Follies had to move to the Globe Theatre the story is interrupted. Another thing that our librettists (today the Lunt-Fontaine) because the Ziegfeld are up against is that they have to write clean stuff–thank production of Sally (1920-1923) was still playing the 6 News From VHSource, LLC Vol 3 March 2015

New Amsterdam. That also meant that there could be no until it was demolished in 1973. Herbert and the VHO Marilynn Miller in the Follies since she was starring in would returned to his classical orchestra roots by Sally. presenting only symphony concerts at Lewisohn that year for three weeks. The conductor impressed his This Follies would feature opening night audience by wearing full evening dress. Fanny Brice (1891-1951) This was serious music, and the entire three weeks introducing perhaps her two were taken up with the classics. greatest songs, “Second Hand Rose” and “My Man.” Ziegfeld This probably came about because of Herbert’s stint also introduced Mary Eaton with the Cincinnati Orchestra during the Great War, (1901-1948) as a headliner in and he appeared to thoroughly enjoy every minute. It 1921, a position she would hold was during these classical concerts at Lewisohn through the Follies of 1923. Stadium that the venerable producer Charles B. This would also be the year that Dillingham (1868-1934) began to urge Herbert to Marilynn Miller became work on a new operetta. The producer had obtained the rights to French playwright Fred de Gresac’s La Fanny circa early 1920s Marilyn Miller, the more familiar star by dropping the Passerelle. For those of you new to these newsletters, pesky second “n.” She also married Jack Pickford Fred is really Frédérique Rosine De Grésac (1879- (brother of Mary) that year, managing to anger Ziegfeld 1943), married to French operatic baritone, Victor immensely. Through all this time, Ziegfeld was married Maurel (1848-1923). The suggestion of working to Mary William Ethelbert Appleton “Billy” Burke again with both Dillingham and De Grésac must have (1884-1970) even though he very much lusted after Miller. gladdened Herbert’s heart and he agreed. NOTE: Fred Burke knew all this, making for a very interesting De Grésac previously worked with Herbert on The Red Mill marriage. More surprisingly, that marriage lasted until (the French scene at the end of Act I - 1906), The Ziegfeld’s death in 1932. Enchantress (1911) and Sweethearts (1913).

For these Follies of 1921, opening on June 21, Herbert Early 1922 found Herbert on a grand tour of the contributed: “Debutantes” and the entire Persian Garden United States, without his VHO, as a guest conductor Scene, including “Opening – In Klorasson,” “The Legend for the orchestras now found in most major movie of the Golden Tree,” “Nautch Dance,” “Persian Dance,” theatres across the country. It had become the fad for “Persian March” (two versions) and “The Princess of theatre managers, who could afford such a luxury, to Dreams.” The Library of Congress contains both scores hire a local orchestra to play before each movie and orchestra parts for all pieces. showing and during any intermissions. Our composer had been a household name in America for decades at Herbert’s last musical comedies were produced in 1920. this point, and he was now in such great demand to New York audiences would now have to wait two full come and conduct these movie orchestras, that he years for another theatrical work by Herbert. The spent a good portion of the first third of 1922, touring composer and his Victor Herbert Orchestra (VHO) spent the entire country as a guest conductor. It was news June 20 to July 10, 1921 in annual residence at Willow which did not go un-noticed by William Randolph Grove Amusement Park earning the second highest weekly Hearst (1863-1951). salary–$5,116.67–of any of the booked talent that summer with the exception of the Sousa Band–$7,000. The VHO Summer found Herbert happily working once again stayed three weeks while Sousa was booked for four with De Grésac most likely at Camp Joyland in the weeks. When the orchestra ended that gig, it moved into Adirondacks. She adapted the comedy she had co- residence on August 3rd at the Lewisohn Stadium, an written with Croisset (1877-1937) which had already amphitheater and athletic facility built on the campus of been translated into English by English actor Cosmo the City College of New York. This outdoor facility, Stuart ([1899-1921] aka Cosmo Gordon-Lennox) for located at Amsterdam and Convent Avenues, opened in his wife Marie Tempest (1864-1942) and retitled The 1915 and served the entire CCUNY collection of colleges Marriage of Kitty (1902). This work would become Orange Blossoms. Unfortunately, in the full year that 7 News From VHSource, LLC Vol 3 March 2015 had gone by before Herbert and De Grésac actually began unfortunately had an overly long libretto from an work, producer Dillingham had given way to operetta standpoint, presenting itself far more as a producer/director Edward Royce (1870-1964). It would play with music than the big choral operetta everyone still have been a major breath of fresh air for Herbert to was expecting and sadly lasted only 95 performances, work with a playwright with whom he had had huge closing on December 9, 1920. success. Add to that the hiring of George Gard "Buddy" De Sylva (1895-1950) as the lyricist and Herbert was In the very midst of creating Orange Blossoms, the ready and willing to create operetta once again. The music Follies of 1922 opened June 5, 1922 in the New director was Gus Salzer, another Herbert favorite. Amsterdam Theatre and ran through June 23, 1923 – a particularly robust run even for a Follies. The only A huge degree of time Herbert would have had time to compose his sophistication and three contributions, would have been while he was on beauty was added his conducting tour in the first part of the year. w h e n N o r m a n Herbert had only a dance piece entitled “Haig and Melancton Bel Haig Stop Dance”, the “Finale to Act I: Gallop” and Geddes (1893-1958, “Weaving My Dreams – Ballet.” In noting how long born actually in our this Follies ran, keep in mind that Herbert, a huge home town Adrian, household name and wily veteran, had most likely MI) was hired to signed a contract paying him an initial composing fee design the set for his followed by a weekly royalty for the run of the show. first Broadway The only scores listed for the Follies of 1922 in the production, and French Library of Congress are for the “Haig and Haig fashion designer Paul (recreated vaudeville Stop dance)” and “Weaving my Poiret (1879-1944) dreams ballet.” was brought from Paris for the creation of the The year 1923 saw Herbert’s major “job,” as it were, costumes. Bel Geddes now working for newspaper magnate turned film had begun designing producer, William Randolph Hearst, as both a composer of five Film Overtures and a conductor at Norman Bel Geddes sets for the Metropolitan Opera Hearst-owned theatre orchestras in both New York Company in 1918 and Wikipedia says of Poiret: “His City and major cities across the country. This was contributions to twentieth-century fashion have been extremely lucrative and relatively easy work for likened to Picasso's contributions to twentieth-century art.” Herbert, especially since he had written his own contract which commenced on May 1, 1923. Hearst No expense was being spared for this Herbert operetta. accepted and honored that contract all the way to its The first ever performance of Orange Blossoms took place end on May 31, 1924. However, he had alerted in Philadelphia at the Garrick Theatre on September 4, Herbert in January of 1924, that he would not be 1922, followed relatively quickly by a Broadway opening renewing the contract when it expired, claiming on September 19, 1922 at the Fulton Theatre. Herbert austerity cutbacks involving the cost of maintaining conducted the New York opening and the New York orchestras. The composer had major serious audiences must have felt everything was once again right composition work lined up for the beginning of 1924 on Broadway. The score produced the delightful “Kiss In and was also interested in revisiting his score for the The Dark” which quickly became a huge Herbert hit. Act I of Natoma so it is doubtful if such a layoff five When was the last time you heard us say that about a months into 1924 mattered very much to him. Herbert theatrical work. However, the production also immediately received the following review question: “Can Now we come to the Ziegfeld/Herbert collaboration, a musical comedy of surpassing beauty and extraordinarily the Follies of 1923 which opened on October 20, entertaining people survive a dull book?” [Variety, Sept 22, 1923. According to Edward Waters, Herbert 1922, pp. 17, 21] Sound at all familiar? This work biographer, this would be Herbert’s largest 8 News From VHSource, LLC Vol 3 March 2015 contribution to a Follies. He worked in collaboration lyric- Next month we’ll delve into the fascinating wise with old friend Gene Buck (1885-1957). The titles of relationship of Victor Herbert and Jerome Kern. six scenes containing Herbert’s music were: “Webbing,” “Old Fashioned Garden,” “Little Old New York,” “I’d Love to Waltz Through Life with You,” “Fencing,” and An American Opera Symposium “Legends of the Drums.” This last one brings to mind a number from the 1912 Herbert work Lady of the Slipper alf of the Restoring Natoma team attended a (his 30th operetta and a take on the Cinderella story). The fascinating Symposium on Composing Finale to Act II of Slipper is entitled “The Dreams of All HAmerican Opera on Saturday, February 21, Nations” which also features a huge drumming section 2015 at Towson University, Towson, Maryland featuring styles of drumming from around the world. (slightly northwest of Baltimore) – in the middle of an Unfortunately, there is no score from the Follies offering approaching snow to compare with the full score for the Finale of Act II, storm, we might Lady of the Slipper. However, it does cause one to wonder a d d . P e t e r if this is perhaps a reworked Herbert composition – Hilliard, our possibly making it a rare item. The only scores listed in computer restorer the Library of Congress for the Follies of 1923 are “Lady extraordinaire, of the Lantern” and “Chinese Dance.” was asked to present a paper on There would be one more Ziegfeld/Herbert collaboration Natoma for this that most would probably not even imagine, especially as Symposium. He Peter Hilliard there is no mention of it in the Library of Congress chose as his title: original Herbert collection nor in Mordden’s book. “Recovering the Herbert composed music for two scenes for the Follies of Revision History of Victor Herbert’s Natoma.” Peter 1924 which opened on June 24th just short of one month is affiliated with Villanova University and served as after Herbert’s passing on May 26th. In fact, these Follies one of four presentations in the morning session of the were in rehearsal, and Herbert was in attendance the day Symposium. This Symposium was co-chaired by before he died. The two scenes were Scene 10 of Act I Aaron Ziegel, an assistant professor of music history which contained the songs “A Garden” and “The Beauty and culture and Carl B. Schmidt, a professor of music Contest” which built into a pageant of glamorous history and culture. Both men are on the faculty of femininity. His last contribution was in Scene 6 of Act II Towson University. Fortunately, Hilliard allowed us – an unnamed choreographic number for the Tiller Girls to attend as cheerleaders. (forerunners of the Rockettes). If one were to locate a program for these Follies, one would find additional While duly warned by the weather forecasters of an Herbert music, clearly interpolated into the production approaching winter storm, neither we nor the city of before opening in tribute to the memory of Herbert. Baltimore really believed it might become a major event. Hence, it limited our attendance to the first Thus, Ziegfeld never stopped hiring Herbert, getting as session only of the Symposium as we “thought” we much from the composer as he was able, given what was were going back to New York City that day. We made occupying Herbert’s time in any given year. Here was the the decision after lunch to prudently head home reining theatrical producer in New York City, at a time instead of remaining for what looked like a really when musical entertainment of all sorts was rapidly great afternoon of subject matter, especially since the evolving faster and faster, consistently hiring the most morning had proven very intriguing. We barely got prestigious American composer every year from 1917 seven miles before throwing in the towel and returning through 1924. In an ego-filled environment like New York to the previous night’s motel to hunker down and City’s world of entertainment that is definitely a rather delay our return until the next day. Sunday dawned fine relationship. Ziegfeld certainly never considered bright and sunny and the journey home was uneventful Herbert “over the hill.” after scraping 6 inches of snow and a thin layer of ice from the entire car. The area got roughly 9 inches 9 News From VHSource, LLC Vol 3 March 2015 altogether. Fortunately, the rental car was in an enclosed As Hilliard was working through computerizing the parking structure for the first 3 inches. scores, he was often at the Library of Congress where all the Natoma original material exists and he found Getting back to that part of the Symposium that we did himself intrigued with that mystery, especially when partake in, the first two topics discussed were 101 years he found references in the orchestra parts entered by apart: “Recovering the Revision History of Victor musicians themselves as to the length of Act I. It Herbert’s Natoma” (1911),” Peter Hilliard, Villanova became clear from those notes from the past that the University; and “What’s Necessary is to Love to Leave’: length of an overly long Act I had shrunk by one-third. the Development of Feminist Voice in Missy Mazzoli’s Major research into (1) the reviews garnered by the Songs from the opera as it toured across the country, (2) the cities the U p r o a r ( 2 0 1 2 ) , work was performed in and (3) the actual paper used Jennifer Campbell, for some cuts showing up on stationary from hotels Central Michigan across the street from performance venues, together University. Herbert revealed an interesting account of the cuts. As Hilliard was born in 1859 and laid out his detective work, it is important to note that writing an opera about the audience at the Symposium was very attentive. a native Indian woman “done in by Herbert almost always presents a great story, and Composer Missy Mazzoli culture” in 1911. Hilliard’s passion for the work wrought from the four Mazzoli was born in years he spent in intimate proximity with the original 1980 and writing about a Swiss woman, Isabelle Eberhardt scores simply added up to a fascinating story. (1877-1904), “done in by culture” who spent most of her Hilliard’s conclusion? Herbert was not only aware of life wandering alone in North Africa, dressed as a man. those famous brown paper cuts but quite possibly Mazzoli’s opera opened in 2012. The two operatic styles made them himself or definitely approved them by could not have been further apart on the spectrum of music contract almost on the fly as if working on a with Herbert lavish in both melody and orchestration while Broadway show on the road as the company toured the Mazzoli’s style is at best “atmospheric.” The latter country. That was certainly a task he had done many reminded one of the Hungarian composer György Sándor times before with his own Broadway bound works. Ligeti (1923-2006). However, the thread of women Thus a primary difference between Herbert and, say protagonists emerged immediately. Both women were Puccini, involved the latter having had the time and orphaned, both were totally on their own and found opportunity to make 4-5 major revisions to his operas themselves in a male role, Natoma as chief of her people once they were initially finished. Herbert on the other and Eberhardt, dressed as a man by choice, to allow her to hand was constantly under commission to be writing roam freely wherever she chose to go. more theatrical works and never really had the time, or more importantly, the opportunity, to go back and Hilliard’s focus was on tracing the origins of the cuts that revisit his work until just before he died. Clugston and Mott had discovered in the only existing set of orchestral parts for Herbert’s opera. That set had been The second presentation entitled “What’s Necessary cut with brown paper and paste for the most part with no is to Love to Leave,” proved to be almost as esoteric real apparent rhyme or reason. There was also no as the score it was describing. The subject matter of indication as to when it happened. The effect was to render the opera, Swiss Isabelle Eberhardt lived from 1877 to the parts totally useless as none of the cuts matched any 1904 and seems to have been a wanderer in North existing vocal score or the orchestral scores. For the better Africa at a time when women simply did not do that. part of six years, the question of WHO had done such a Like George Sand, she achieved her wanderings by thing remained a real mystery as well as WHY. It was dressing primarily as a man. She apparently remained also the reason that the whole Restoring Natoma Project alone her entire life. It was fascinating that composer was launched, since removing brown paper from 100 year Mazzoli was only 24 when she penned Songs from old manuscript would have cost more than entering the Uproar for a 2012 opening. Unfortunately the everything into the computer. presenter wasn’t really able to tie her paper to the title 10 News From VHSource, LLC Vol 3 March 2015 nor to bother with discussing Mazzoli’s place in today’s Reading such text compositional world. Again the listener was struck by how almost always absolute opposites Herbert and Mazzoli were. Lush portends the melody versus abstraction. possibility that what is to follow may be A last set of presentations for the first session included: very academic and a “‘Susannah Lives’ On the Unlikely Survival of an bit devoid of American Opera and its Tragic Heroine,” Susannah passion. Ah, Carlisle Floyd (1956, Carlisle Floyd), and “Broadway at the Opera passion – want to House: Promoting the New York City Opera’s American tell a great story? Better to be passionate about it than Seasons, 1958-1960.” The former topic was presented by ho-hum. Passion will fuel learning everything you can Monica Hershberger, Harvard University while the latter find about the topic and discovering those “wonderful was presented by Christopher Lynch, Indiana University. aha moments or relationships” that are totally unexpected and make research so much fun. Having just seen the opera Susannah not more than six months ago, it was interesting to hear an analysis of both The other telling moments came when questions were the singers who had sung the female protagonist in this asked and the answers were often “I hadn’t thought American opera classic and the female protagonist herself about that.” That’s the area where Hilliard really who appears to have broken the mold of the inevitable shone since the team has been discussing Natoma for female victim who either submits or dies in many operas. what feels like forever. Susannah, falsely accused of being sinful, is raped by a newly arrived preacher who realizes after the deed that she Finally, the session ended with a paper entitled was a virgin, and thus, wrongfully labeled by her “Broadway at the Opera House: Promoting the New community. He tries to set the community straight but York City Opera’s American Seasons, 1958-1960.” fails. Her brother rights the wrong by killing the preacher The best portion of this paper was a fascinating visual which causes the community to descend on Susannah’s of the three seasons of NYCO offerings listed side by house to run her out of the county. She meets them with a side. It made one want to see those seasons today. shotgun and survives. Here again the threads that the Right now. Soon! It was a far too painful reminder of conveners of this Symposium hoped to expose raised how far the NYCO has fallen from that golden time – interesting parallels. all the way to non-existence. The presenter chose to compare one aria from each of Susannah, The Ballad Herbert’s heroine Natoma, kills the antagonist Alvarado in of Baby Doe and Street Scene – all sung by women. order to protect her best friend Barbara from abduction We do confess to not knowing exactly why any aria and probable rape. She also has the community turn comparison was called for given the title of the topic against her and is convinced by the church that her only beyond of course “examining the composers’ genesis, solution is to become a nun. Natoma submits. Interesting reception, etc.” It did fit the “sort of theme” of the day comparison. One would only hope that the presenter of the as the entire session appeared to focus on female Susannah paper would have done a bit more homework protagonists in American opera. It would have been and seen that thread herself. Alas, this paper leaned really exciting if each presenter had been asked to at heavily on the academic side and spent more time on those least think about one question regarding all those who had sung the role. female roles as all four did come together in for a summary panel just before the end of the session. Neither this presenter nor the Mazzoli presenter seemed to Unfortunately, the short panel discussion was have much of a handle on their subject beyond their actual audience question driven, which meant the theme, if paper topics which had a tendency to be a bit “dry.” An there was really was one, was not ever referenced. early alert are the words “through the use of analytical techniques and the exploration of text-music relationship” All that being said, it was a most enjoyable day, and or “ ... examining Floyd’s music and libretto, their we wish we could have lingered for the rest of the genesis, reception and relation to operatic history,...” offerings rather than being holed up in a motel 11 News From VHSource, LLC Vol 3 March 2015 working on this newsletter with the snow swirling. We do old, brand new 501(c)(3) company. Also you’ll want commend Dr. Ziegel and Dr. Schmidt for pulling together to be in the audience to hear the announcement of the a very interesting Symposium. We do wish the attendance offerings for the VHRP LIVE! second season. had been better but given the weather, the small audience Hopefully, the weather will cooperate. April should be was probably larger than expected. really lovely in New York! Cyrano Returns To New York City Upcoming Herbert Performances

February brought a return engagement of the Victor Thursday, April 23, 2015, 8pm, the Victor Herbert Herbert Renaissance Project LIVE!’s production of Renaissance Project LIVE! will end its inaugural Herbert’s 1899 operetta Cyrano de Bergerac on Thursday, season with Herbert’s 1910 Naughty Marietta. The February 26, 2015, 8pm at Christ & St. Stephens Church, single performance will take place in Christ & St. 120 W. 69th Street, New York, NY. The day before had Stephens Church, 120 West 69th Street, New York brought a bit of Spring temperatures to the City and a hope City. A company of twelve voices led by Glenn that it might hold at least through Thursday. Alas, the Seven Allen as Captain Richard Warrington and temperature plummeted once again just in time for all Sarah Caldwell Smith as Marietta will offer up those hardy souls who were very aware of the weather or America’s finest example of operetta. Individual had seen the work in 2013 to make the decision that they tickets are on sale now at artful.ly/vhrp-live. Cost for probably should pass. adults is $35 while Seniors/Students/Union Members pay $20 (w/proper ID). Visit www.vhrplive.org for Unfortunately, they more information. missed a major leap of growth for the VHRP Fridays, Saturdays, and Sundays, May 1 through LIVE Company as the 5 May 24, 2015. The Windsor Theatre Group will character cast gave a present an Original Melodrama featuring the music of really phenomenal Victor Herbert. There will be an evening performance performance that qualified each Friday, both a matinee and evening performance it for an additional review, each Saturday, and a matinee on each Sunday, making even though the reviewer a total of 12 performances. The performance venue had warned that it will be the wonderful Ozark Theatre, 103 E. probably would not be Lockwood, Webster Groves, Missouri. Watch this reviewed again so soon. organization’s Facebook page for further ticket Click here to check out information. this new review with new pictures. It is wonderful to Friday, May 8, 2015, 7:30 pm and Saturday, May L-R: Nathan Brian as Cyrano, have such wonderful 9, 2:00 pm & 7:30 pm, the Light Opera of New Stephen Faulk as Christian, Olga support. York will present Herbert’s 33rd operetta, The Only Xanthopoulou as Roxane Girl (1914) at the Peter Norton Symphony Space, Leonard Nimoy Thalia Theatre on 95th and Now the company moves on to Herbert’s 1910 Broadway in New York City. Visit HERE to purchase masterpiece Naughty Marietta on April 23, 2015 – see tickets for this event. details below. Most of the Cyrano cast and almost all of the Art Is Calling For Me cast will figure prominently in Sunday, June 28, 2015, 3:00pm, Canton Comic the Marietta cast. One of the real joys of having a Opera Company, Joseph Rubin, Artistic Director, company to work with is the rapport developed amongst will present, for one afternoon only, Victor Herbert the individuals as trust and acting respect grows. If you and his Famous 22nd Regiment Band at a command live in the New York City area, do take the time to performance for McKinley’s 1897 Inaugural Grand acquaint yourself with the magic of this new company. Concert. The presentation will take place at Umstattd Naughty Marietta will close the first season of this year 12 News From VHSource, LLC Vol 3 March 2015

Hall, McKinley Senior High School, 2323 17th Street NW, 2015. Here’s hoping this hard New England winter did Canton, Ohio 44708. There will be a Pre-Concert Lecture not deter attendees. at 2:30pm presented by Christopher Kenny of the McKinley Presidential Library and Museum (Canton, The Ohio Light Opera keeps getting kudos for its OH). Tickets are $20 for adults, Free to 25 and under. Call new recording of Victor Herbert’s 1906 Dream City 800-838-3006 or visit Ticket Sales on-line. Also visit the and the Magic Knight, A Dramatic Pipe in Two CCOC home site for a wonderful video offering featuring Puffs, created this past summer during a great run of a really fine march (we are assuming, given Rubin’s 7 performances in Wooster, Ohio. attention to detail, that the musical offering is Herbert’s “McKinley Inauguration March”). We’ve already got our Frank Behrens, Contributing Writer to the travel arrangements. SentinelSource.com, located in Keene, New Hampshire had this to say in his review of the new Alyce's Musings . . . CD: The OLO cast is livelier than I have ever heard them, reading the corny dialogue with conviction — if with Bruce Greengart, recording specialist for somewhat slipping accents now and then. Steven the Victor Herbert Renaissance Project Byess seems to be having a grand time conducting Live! Company, joined us on both and it is infectious. This recording is a valuable celebratory days for Herbert’s Birthday addition to the collections of those who love the old in Central Park. If you remember the musicals that paved the way for Gershwin, Kern and birthday fell on a Sunday, so we Rodgers. celebrated twice, once for real on Feb 1 and once for the official laying of the wreath on Feb 2. You can buy this wonderful CD HERE. This work had not been heard in well over 100 years, so this is a must CD for your Herbert collection. An added enjoyment is to hear VHRP LIVE! Company members, Nathan Brian, Stephen Faulk and Natalie Ballenger in major roles in this really wonderful CD.

While we are talking about new CDs, the Light Opera of New York’s recent production of Herbert’s 1922 Orange Blossom in the Spring of 2014 is now available on CD HERE.

Reminder: Herbert Performance materials published by VHSource, LLC are available for an amazing number of Herbert works and more materials are being created Bruce Greengart, Alyce Mott and a very snowy every year. All the information you need is in Shop Victor Herbert, Monday, Feb 2, 2015 VHSource E-mail us with any questions One knows that the Herbert revival is in healthy swing when it is possible to run across a headline such as “10 Keep sending your Herbert programming dates so we things to do on Valentine’s Day,” and discover an can fill up the calendar with great events. interesting concert offering, featuring Herbert music. The South Coast Sentinel, a newspaper based in New Bedford, See you next month! Massachusetts, reported that the Unitarian Memorial Church of Fairhaven, Massachusetts presented their “Love is a Many Splendored Thing” Valentine Cabaret, featuring (and here is the really good news) the music of Victor Herbert in the entire first half and music of local musicians in the second on Valentine’s Eve, February 13,