File:Amelita Galli-Curci of the Chicago Opera Company.jpg

Identifier: morechaptersofop00kreh (find matches)
Title: More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918
Year: 1919 (1910s)
Authors: Krehbiel, Henry Edward, 1854-1923
Subjects: Opera
Publisher: New York : H. Holt and company
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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t unerring. How continent his orchestra! Yet what aneloquence and power does it contain as an expositor of theinnermost heart of the drama! Is there another page inoperatic literature to be put alongside of the Largo episodein the overture and its repeated recurrence when the spec-tral visitant who haunts the minds of the personages andruins the fabric of the play makes its appearance? HasWagner improved the introduction to the third act by hispalpable imitations of it in Siegfried and Tristan?Is there another operatic song of the dewy freshness andfragrance of Euryanthes first cavatina ( Glocklein imThale ) or the sweet, gentle, resigned pathos of the second(Hier, dicht am Quell) in the last act? Did not thehunts-up of the last act provoke something like a feelingof impatience with Wagners imitation in Tannhauser ?Will it ever be possible to put loftier sentiment or sincererexpression into a delineation of brave knighthood and itshomage to fair women than inspire almost every measure
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Amelita Galli-Curci of the Chicago Opera Company DEPARTURE OF ALFRED HERTZ 345 of the first act? To Wagners honor be it said that henever denied his indebtedness to Weber, but if he had itwould have availed him nothing while the representativesof the evil principle in Lohengrin and Euryanthe present so obvious a parallel, not to mention so many draftsupon the spiritual as Well as physical apparatus in so manyparts of the score. The opera was presented as a brilliantspectacle in which pictures and pageantry were successfullyand harmoniously blended. The tableau which Weber in-tended to have exposed during the Largo episode in theoverture was omitted. We had had it in the performancestwenty-seven years before, but it can not be said to shedmuch light on the play, since its significance becomes appar-ent only after the drama is developed and then only in partand to those who are willing to endure the brain-rackingwhich the incoherent libretto compels. But we had the Pasde cinque in the la

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