Più capitoli dell opera : essendo storico e osservazioni critiche e registrazioni riguardanti il dramma lirico in New York dal 1908 al 1918 . y,è stato tuttavia questa melodia che è venuto dal raucousthroats di politicamente impazzito uomini e donne, mentre nobleheads caduto nella sanguinosa segatura, mentre il bottino della chiese furono trasportate nella convenzione nazionale nel1793, e che molti colleghi, smettere di loro curulechairs, ha preso le mani di ragazze flaunting in sacerdoti vestures,ballato una wild rout, come hanno fatto altri mad disgraziati quando adancer era adorato come la dea della ragione nel theCathedral di

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More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . y, however, it was this tune which came from the raucousthroats of politically crazed men and women, while nobleheads tumbled into the bloody sawdust, while the spoils ofthe churches were carried into the National Convention in1793, and to which several members, quitting their curulechairs, took the hands of girls flaunting in priests vestures, danced a wild rout, as did other mad wretches when adancer was worshiped as the Goddess of Reason in theCathedral of Notre Dame. Caterinas account of the rude familiarity with which sheis treated by the soldiery (a knowledge of the story of theopera can safely be assumed, since Sardous play has beenacted here by Kathryn Kidder, as well as Mme. Rejane) isset to a melody of a Russian folksong cast, in the treatmentof which Russian influences may also be felt, but with thefirst shouts of the mob attacking the Tuileries in the dis-tance the characteristic rhythmical motif of £a ira isheard muttering in the basses: 340 MORE REVOLUTIONARY MUSIC AWtgTO. Again a harmless tune which in its time was perverted toa horrible use—a lively little contra-dance which gracedmany a cotillon in its early day, but which was roared andshouted by the mob as it carried the beauteous head of theLamballe through the streets of Paris on a pike and thrustit almost into the face of Marie Antoinette! Of such material and a pretty little dance (La Fricas-see ), to which Caterina tells of her rescue by Lefebvre, isthe music of the first act, punctuated by cannon shots, made.It is all rhythmically stirring, it flows spiritedly, energetic-ally, along with the movement of the play, never retardingit for a moment, but, unhappily, never sweetening it with agrain of pretty sentiment or adorning it with a really grace-ful contour. And so with the acts which follow the revo-lutionary scenes. There is some graciousness in the co

Parole chiave associate all'immagine

• bookcentury1900
• bookdecade1910
• bookpublishern
• booksubjectopera