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She is a great artist with a wonderful voice and her interpretation of several lieder made them wonderfully worth while. Madame Cahier interpreted the part of Dalila at Vienna with Dalmores, so it can easily be appreciated how much pleasure I took in hearing her. A final word about the Dante Symphony.
So far as it was autobiography at all, I should not say that it was much idealized, except in so far as Dalila in the land of the Philistines, and Eve in Paradise, had to be represented poetically as beautiful, eloquent, and fascinating, while of poor Mary Powell's claims to beauty we know little, and our information as to her eloquence and fascination consists in our irremovable impression that it was of her that Milton had been thinking in that passage in his first Divorce Tract in which he described the hard fate of a man bound fast by marriage to "an image of earth and phlegm."
"Ah, Dalila Karpovna," remarked Niel Andreevich. "Good-day. How are you?" "Good-day," she answered drily, turning away. "Why don't you bestow a kind glance on me, and let me admire your swanlike neck!" The young officials in the corner giggled, the ladies smiled, and Paulina Karpovna whispered to Raisky: "The rude creature. The first word he speaks is folly." "Ah, you despise an old man.
Other queens have also received me Queen Christine of Spain and Queen Amelie of Portugal. After Queen Christine had heard me play on the piano, she expressed a desire to hear me play the organ, and they chose for this an excellent instrument made by Cavaillé-Coll in a church whose name I have forgotten. The day was fixed for this ceremony, which would naturally have been of a private character, when some great ladies lectured the indiscreet queen for daring to resort to a sacred place for any purpose besides taking part in divine services. The queen was displeased by this remonstrance and she responded by coming to the church not only not incognito, but in great state, with the king (he was very young), the ministers and the court, while horsemen stationed at intervals blew their trumpets. I had written a religious march especially for this event, and the Queen kindly accepted its dedication to her. I was a little flustered when she asked me to play the too familiar melody from Samson et Dalila which begins Mon coeur s'ouvre
The earlier scenes of 'Samson et Dalila' are conceived in the spirit of oratorio, and the choral writing, which is unusually solid and dignified, often recalls the massive style of Handel. In the second act he exhausts the resources of modern passion and colour, and in the Philistine revels of the third act he makes brilliant and judicious use of Oriental rhythms and intervals.
In a week he would have known every man and dog in the village by name. "Good mornin', sir," said the Law, which was nibbling its chin strap and had both thumbs stuck in its belt. "That's a fine thing you was singin'. May I arsk wot it was? I do a bit in that line meself." "It's the cantabile from Saint-Saëns' Samson et Dalila," replied Trenholme. "Mon coeur s'ouvre
There is Dalila, no, Pelageia Karpovna " "Impertinent creature," said that lady aloud, as she rose and went quickly towards the door. Tatiana Markovna also rose. "Where are you going, Paulina Karpovna?" she cried. "Marfinka, do not let her go." "No, no, Tatiana Markovna," came Paulina Karpovna's voice from the hall, "I am always grateful to you, but I do not wish to meet such a loon.
I have engaged the box that you prefer. We arrive for the last act of 'Samson et Dalila' and for the ballet." "And afterwards?" "To the Abbaye. After that, there is the Rat Mort Albert must not be disappointed and a new place, they tell me. One must see all these new places." "And we leave here soon?" "You are impatient!" "Only to be alone with you," she answered.
Yet on she moves; now stands and eyes thee fixt, About to have spoke; but now, with head declined, Like a fair flower surcharged with dew, she weeps, And words addressed seem into tears dissolved, Wetting the borders of her silken veil: But now again she makes address to speak. Dalila.
Realizing this, Feuillet halted, pondered, abruptly changed front, and began to follow in the footsteps of Alfred de Musset. 'La Grise' , 'Le Village' , 'Dalila' , 'Le Cheveu Blanc', and other plays obtained great success, partly in the Gymnase, partly in the Comedie Francaise.
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