Open Daily: 10am - 10pm | Alley door pickup 10am - 7pm 3038 Hennepin Ave Minneapolis, MN
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  • Open Daily: 10am - 10pm
    Alley-side Pickup: 10am - 7pm

    3038 Hennepin Ave Minneapolis, MN
    612-822-4611

Open Daily: 10am - 10pm | Alley-side Pickup: 10am - 7pm
3038 Hennepin Ave Minneapolis, MN
612-822-4611
More Chapters of Opera; Being Historical and Critical Observations and Records Concerning the Lyric Drama in New York from 1908 to 1918

More Chapters of Opera; Being Historical and Critical Observations and Records Concerning the Lyric Drama in New York from 1908 to 1918

Krehbiel, Henry Edward

Paperback

General United States History

Currently unavailable to order

ISBN10: 1150082216
ISBN13: 9781150082214
Publisher: General Books
Pages: 294
Weight: 0.95
Height: 0.66 Width: 9.01 Depth: 5.98
Language: English
This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1919 edition. Excerpt: ...Metropolitan Company, for even the polyglot members of Mr. Gatti's organization could scarcely be expected to use the Russian language, but there was no excuse for a French performance of Tannhauser by Mr. Hammerstein except the predominant Gallicism of his forces, and none at all for the performance of Susannen's Geheimniss in Italian. There are only three characters in the arch little comedy, and one of them (played by Francesco Daddi) is a mute; a second (Countess Gil) was sung by Miss Caroline White, an American, and the third (Count Gil) by Signor Sammarco, who had mastered enough English to carry a part in Natoma. Moreover, the play is one which would have worn an English dress right jauntily. Originally it was a French farce. Max Kalbeck, an Austrian musical writer, turned it into German, and the German book was set to music by Ermanno Wolf-Ferrari. Three races are suggested in the name of the composer, but I can not stop to inquire how much the German, how much the Italian, or how much the Jewish element in the composer's physical and mental constitution have to do with the music 234 A CLEVER STORY AND INGENIOUS MUSIC of II Segreto di Susanna, as it was called on the bills when it was produced at the Metropolitan on March 14, 1911, for the first time in America. It sounded delightful in Italian; it would, no doubt, have sounded a little more natural in German, since it was composed to German words; and a clever translator might have reconciled the public to an English version unless Signor Sammarco had offended its ears by his pronunciation. The secret which Susanna harbored, keeping it from her husband, was that she smoked cigarettes. The Count did not smoke; the servant, as he makes...

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