More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . ss is German music. There is no effect in which theymeet, unless, as we thought when hearing Marouf forthe first time, it is that dry cackling of wood-wind instru-ments in dissonant chords which accompanies Bostana, thefemale pendant of the barber, and which Rabaud uses tocharacterize the virago who drives Marouf into good for-tune. But this is an all but negligible feature in the Frenchopera and not one of its charming traits. The chief fasci-nation comes
More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . ss is German music. There is no effect in which theymeet, unless, as we thought when hearing Marouf forthe first time, it is that dry cackling of wood-wind instru-ments in dissonant chords which accompanies Bostana, thefemale pendant of the barber, and which Rabaud uses tocharacterize the virago who drives Marouf into good for-tune. But this is an all but negligible feature in the Frenchopera and not one of its charming traits. The chief fasci-nation comes from the use of Oriental themes; perhaps notso much from the idioms themselves as from the mannerin which they are employed. We can imagine that earsaccustomed to only melody of the Occidental types mightbecome weary of the dialogue in Marouf (for of setsong there is nothing except an air in the third act whichdoes not belong to the score and was interpolated by thecomposer to oblige Mme. Alda), but it was an uninquisitiveear and a stagnant fancy that was not arrested, lured, andseduced by the woven voices of the orchestra. Here the.
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishern, booksubjectopera
