A Book of Operas: Their Histories, Their Plots, and Their Music. Henry Edward Krehbiel

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       Henry Edward Krehbiel

      A Book of Operas: Their Histories, Their Plots, and Their Music

      Published by Good Press, 2019

       [email protected]

      EAN 4057664605139

Table of Contents

       CHAPTER I

       CHAPTER II

       CHAPTER III

       CHAPTER IV

       CHAPTER V

       CHAPTER VI

       CHAPTER VII

       CHAPTER VIII

       CHAPTER IX

       CHAPTER X

       CHAPTER XI

       CHAPTER XII

       CHAPTER XIII

       CHAPTER XIV

       CHAPTER XV

       CHAPTER XVI

       CHAPTER XVII

      Chapter I "Il Barbiere di Siviglia"

      First performance of Italian opera in the United States—Production of Rossini's opera in Rome, London, Paris, and New York—Thomas Phillipps and his English version—Miss Leesugg and Mrs. Holman—Emanuel Garcia and his troupe—Malibran—Early operas in America—Colman's "Spanish Barber"—Other Figaro operas—How Rossini came to Write "Il Barbiere"—The story of a fiasco—Garcia and his Spanish song—"Segui, o caro"—Giorgi-Righetti—The plot of the opera—The overture—"Ecco ridente in cielo"—"Una voce poco fà,"—Rossini and Patti—The lesson scene and what singers have done with it—Grisi, Alboni, Catalani, Bosio, Gassier, Patti, Sembrich, Melba, and Viardot—An echo of Haydn.

      Chapter II "Le Nozze di Figaro"

      Beaumarchais and his Figaro comedies—"Le Nozze" a sequel to "Il Barbiere"—Mozart and Rossini—Their operas compared—Opposition to Beaumarchais's "Marriage de Figaro"—Moral grossness of Mozart's opera—A relic of feudalism—Humor of the horns—A merry overture—The story of the opera—Cherubino—"Non so più cosa son"—Benucci and the air "Non più andrai"—"Voi che sapete"—A marvellous finale—The song to the zephyr—A Spanish fandango—"Deh vieni non tardar."

      Chapter III "Die Zauberflöte"

      The oldest German opera current in America—Beethoven's appreciation of Mozart's opera—Its Teutonism—Otto Jahn's estimate—Papageno, the German Punch—Emanuel Schikaneder—Wieland and the original of the story of the opera—How "Die Zanberflöte" came to be written—The story of "Lulu"—Mozart and freemasonry—The overture to the opera—The fugue theme and a theme from a sonata by Clementi—The opera's play—"O Isis und Osiris"—"Hellish rage" and fiorituri—The song of the Two Men in Armor—Goethe and the libretto of "Die Zauberflöte"—How the opera should be viewed.

      Chapter IV "Don Giovanni"

      The oldest Italian operas in the American repertory—Mozart as an influence—What great composers have said about "Don Giovanni,"—Beethoven—Rossini—Gounod—Wagner—History of the opera—Da Ponte's pilferings—Bertati and Gazzaniga's "Convitato di Pietra"—How the overture to "Don Giovanni" was written—First performances of the opera in Prague, Vienna, London, and New York—Garcia and Da Ponte—Malibran—English versions of the opera—The Spanish tale of Don Juan Tenorio—Dramatic versions—The tragical note in the overture—The plot of the opera—Gounod on the beautiful in Mozart's music—Leporello's catalogue—"Batti, batti o bel Masetto"—The three dances in the first finale—The last scene—Mozart quotes from his contemporaries—The original close of the opera.

      Chapter V "Fidelio"

      An opera based on conjugal love—"Fidelio," "Orfeo," and "Alceste"—Beethoven a Sincere moralist—Technical history of "Fidelio,"—The subject treated by Paër and Gaveaux—Beethoven's commission—The first performance a failure—A revision by the composer's friends—The second trial—Beethoven withdraws his opera—A second revision—The revival of 1814—Success at last—First performances in London and New York—The opera enriched by a ballet—Plot of "Fidelio"—The first duet—The canon quartet—A dramatic trio—Milder-Hauptmann and the great scena—Florestan's air—The trumpet call—The opera's four overtures—Their history.

      Chapter VI "Faust"

      The love story in Gounod's opera—Ancient bondsmen of the devil—Zoroaster, Democritus, Empedocles, Apollonius, Virgil, Albertus Magnus, Merlin, Paracelsus, Theophilus of Syracuse—The myth-making capacity—Bismarck and the needle-gun—Printing, a black art—Johann Fust of Mayence—The veritable Faust—Testimony of Luther and Melanchthon—The literary history of Dr. Faustus—Goethe and his predecessors—Faust's covenant with Mephistopheles—Dr. Faustus and matrimony—The Polish Faust—The devil refuses to marry Madame Twardowska—History of Gounod's opera—The first performance—Popularity of the opera—First productions in London and New York—The story—Marguerite and Gretchen—The jewel song—The ballet.

      Chapter VII "Mefistofele"

      Music in the mediaeval Faust plays—Early operas on the subject—Meyerbeer and Goethe's poem—Composers of Faust music—Beethoven—Boito's reverence for Goethe's poem—His work as a poet—A man of mixed blood—"Mefistofele" a fiasco in Milan—The opera revised—Boito's early ambitions—Disconnected episodes—Philosophy of the opera—Its scope—Use of a typical phrase—The plot—Humors of the English translation—Music of the prologue—The Book of Job—Boito's metrical schemes—The poodle and the friar—A Polish dance in the Rhine country—Gluck and Vestris—The scene on the Brocken—The Classical Sabbath—Helen of Troy—A union of classic and romantic art—First performance of Boito's opera in America, (footnote).

      Chapter VIII "La Damnation de Faust"

      Berlioz's dramatic legend—"A thing of shreds and patches"—Turned into an opera by Raoul Gunsbourg—The composer's "Scenes from Faust"—History of the composition—The Rakoczy March—Concert performances in New York—Scheme of the work—The dance of