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Updated: May 26, 2025
Once upon a time duty called me to the two opera-houses of New York on the same evening. At the first I listened to some of the hot-blooded music of an Italian composer of the so-called school of verismo. Thence I went to the second. Verdi's "Traviata" was performing. I entered the room just as the orchestra began the prelude to the last act.
Dumas's Marguerite Gauthier was changed from a courtesan of the time of Louis Philippe to one of the period of Louis XIV. It is an amusing illustration of how the whirligig of time brings its revenges that the spirit of verismo, masquerading as a desire for historical accuracy, has restored the period of the Dumas book, that is, restored it in name, but not in fact, with the result, in New York and London at least, of making the dress of the opera more absurd than ever.
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