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Updated: June 16, 2025


Brigands drew pensions from kings and popes, and the system gave rise to the most comical incidents; the story of the pensioned malefactors living together at Monticello reads like an extravaganza. It was the spirit of Offenbach, brooding over Europe. One of the funniest episodes was a visit paid in 1865 by the disconsolate Mrs.

Did this man never wish to go to bed? She hated stopping up after one o'clock in the morning. But, anxious to be a serviceable companion to him on all occasions, she strove against her sleepiness and listened to him whilst he considered whether her voice was heard to most advantage in Offenbach or in Herve.

He can write the style of Charles Lamb better than Lamb could do it himself, and his Hazlitt is very nearly as good. He fences with his left hand as well as with his right, and can manage two styles at once like Franz Liszt playing the allegretto from the 7th symphony with an air of Offenbach twined about it.

The names of Offenbach and Herve were mentioned; both were admitted to be geniuses, but the latter, it was declared, would have been the greater had he had the advantage of a musical education.

"I don't know what you mean. I can understand any one saying that Offenbach is sensual, but I don't see how the term can be applied to a hymn." "Perhaps not to a hymn, although but 'La Chanson d'Eglise' is not a hymn." Her arm hung along the chair, the flesh showing through the silk as soft as a flower.

M. Offenbach had opened Lempriere's Dictionary to the authors with "La Belle Helene," and there, was commonly a flimsy raveling of parodied myth, that held together the different dances and songs, though sometimes it was a novel or an opera burlesqued; but there was always a song and always a dance for each lady, song and dance being equally slangy, and depending for their effect mainly upon the natural or simulated personal charms of the performer.

What hurt Grétry was his unbounded conceit, with which Offenbach, to his credit, was never afflicted. As an indication of this, he dared to write in his advice to young musicians: "Those who have genius will make opéra-comique like mine; those who have talent will write opera like Gluck's; while those who have neither genius nor talent, will write symphonies like Haydn's."

His experiences, adventures, and hairbreadth escapes, his entire career, beginning with his return from his travels in Turkey, through his conversion to Catholicism , to the day of his death as "Baron von Offenbach," would furnish material for a stirring drama.

However, he tried to make an opera like Gluck's and in spite of his great efforts and his interesting inventions, he could not equal the work of his formidable rival. Although he was not a great musician, Offenbach had a surprising natural instinct and made here and there curious discoveries in harmony.

It is rather curious to note, in connection with this prophecy, that the doors of the Opéra Comique, which were closed against Offenbach after the failure of his Vert-Vert some years before the war, are to be reopened to him next season, his Contes de Hoffman having proved the "Open, sesame!" to those long-barred portals.

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