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'Cavalleria Rusticana' was as much at home with us in its first year as 'L'Elisir d'Amore' is now in its sixtieth or seventieth." "But it isn't," we protested, "denationalized. What can be more intensely Italian than an Italian opera is anywhere?" "You're right," the reader owned, as the reader always must, if honest, in dealing with the writer.
'Le Egloghe del Boccaccio, says an Italian critic, 'rappresentano tutta la vita psicologica del poeta, dalle febbri d'amore alle febbri ascetiche. The amorous eclogues, to which in later life Boccaccio attached little importance, are early; several are historical in subject and are probably of later date, though one may be as early as 1348; there are others of a religions nature which belong to the author's later years.
Donne ch'avete intelletto d'amore. These fortunate dispositions were interrupted by a meeting which affected his character and genius more than any other event in his life. It is curious that Madame Sand and De Musset originally avoided making each other's acquaintance.
It was no ordinary music, either; there were half-a-dozen fine voices and four or five stringed instruments, played with masterly skill a violin, a 'viola d'amore, and at least two or three lutes. Stradella put out the light in the room and opened the outer shutters a little, for they had been closed.
The manager of the Metropolitan replaces German with Italian opera, and finds his account in it, but could he find his account in it if he put on 'The Mikado' instead of 'L'Elisir d'Amore'? If he did so, the town would not be here. Why?" The reader did not try to answer at once.
In fact, we had a sense that this sort of reader was there with us the night we saw "L'Elisir d'Amore," and that it was in his personality we felt and remembered many things which we could have fancied personal only to ourselves.
Dolmetsch plays to us; and he plays to us also on the lute, the theorbo, the viola da gamba, the viola d'amore, and I know not how many varieties of those stringed instruments which are most familiar to most of us from the early Italian pictures in which whimsical little angels with crossed legs hold them to their chins. Mr.
I said that nothing mitigated the tormento d'amore like beginning the day with a sustaining meal. I said you were a man of an unbounded stomach. I said you were subject to paroxysms of the most violent rage, and if you did n't get the proper variety and quantity of food, you 'd smash the furniture. I smiled upon her with my bonniest, blithest eyne. I ogled her. I chucked her under the chin.
The serene first melody has "peevish" interruptions; the assertive second yields to graceful blandishments. Soon a storm is brewing; at the height the same motive is sung insistently. Various parts of the first theme are now blended in mutual discourse. Amidst trembling strings the oboe d'amore plays the "third theme." "Very tenderly," "quietly," the
The shattering brass of which Berlioz had dreamt is realized. Violas d'amore, hecklephones, wind-machines, are introduced into the band; the familiar instruments are used in unfamiliar registers. Through the tone-poems of Strauss, the orchestral composer for the first time has a suitable palette, and can achieve a brilliance as great as that which the modern painter can attain.
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