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Updated: June 17, 2025
It was in her mind to play some lively excerpts from the light operas then in vogue, but the secret influences of the hour were stronger than her studied intent, and, when her fingers touched the keys, they wandered, almost without volition, into the subtle harmonies of Gounod's "Ave Maria."
Gounod's warmest friends were amazed by the beauty of the masterpiece, in which exquisite melody, great orchestration, and a dramatic passion never surpassed in operatic art, were combined with a scientific skill and precision which would vie with that of the great masters of harmony.
"But," said he, rather hurriedly, "somebody or other told me she had come out at the opera here and made a hit." "What in Siebel?" "I don't know. But I saw large bills out with her name. She made her de'but in Gounod's 'Faust." "It is my Siebel!" cried Zoe, rapturously. "Why, aunt, no wonder Harrington admires her. For my part, I adore her." "You, child! That is quite a different matter."
Attempts have been made at different times to found a Théâtre Lyrique Populaire. But up to the present time none has succeeded. The first attempts were made in 1847. M. Carvalho's old Théâtre-Lyrique was never a financial success, though quite distinguished performances of operas were given there, such as Gounod's Faust and Gluck's Orfeo, with Mme.
With the toes of his right foot, he took the bow and with his left foot, deftly rosined it; a spectacle that sent a whisper of astonishment rippling through the audience. The orchestra struck up Bach's "Prelude," to which Stoss played Gounod's "Ave Maria." The tones he produced were beautiful, and the vast crowd was enraptured.
We had heard 'Faust' some years before and were great admirers of Gounod's genius. But Romeo beat all our expectations. The music roused our wildest enthusiasm. Now both my friends are dead. Fritz, who was ambitious, was a private secretary when he died, Phil a medical student; I who aspired to the position of a minister of state have to content myself with that of a regimental judge.
But, thanks to Carlotta, nobody had a chance to say it and later Tony Holiday, standing in the twilight in front of College Hall's steps, sang her solo, Gounod's beautiful Ave Maria, smiled happily down into the faces of the dear folks from her beloved Hill and only regretted that Larry was not there with the rest Larry who, for all the others knew, might never come again.
The opera is built after the same hybrid model as Gounod's "Romeo"; it is neither frankly the old Italian opera, existing for the sake of its songs, nor the later form in which the songs exist for the sake of the drama, but an attempt to combine the songs with the continuous working out of a dramatic impulse in the modern manner.
INA KLOSKING worked night and day upon Siebel, in Gounod's "Faust," and upon the songs that had been added to give weight to the part. She came early to the theater at night, and sat, half dressed, fatigued, and nervous, in her dressing-room. Crash! the first coup d'archet announced the overture, and roused her energy, as if Ithuriel's spear had pricked her.
He peered at me for a moment or two as though taking my measure, and then went to the piano and gave vent to a particularly low comic song. "Forecastle tastes," thought I; "that upright grand's a wasted instrument." Aloud I expressed conventional thanks. Haigh had another blink or two in my direction, and then broke into Gounod's "Chantez toujours," singing it very passably.
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