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Updated: May 12, 2025
A distinctive feature of the work is the absence of Wagnerian influence. Stanford uses guiding themes, it is true, and often in a most suggestive manner, but they do not form the basis of his score. If foreign influence there be in 'Much Ado about Nothing, it is that of Verdi in his 'Falstaff' manner. Like Verdi Stanford strikes a true balance between voices and instruments.
In large measure the Metropolitan is a show-case for rich fashionables who are not trained in Wagnerian music and have no reverence for it, but who like to promote art and show their clothes.
I noted that wherever a situation analogous to one in the Wagnerian music-drama presented itself the music of the protean younger Richard was coloured by memories of the elder composer. For example, in Ariadne at Naxos, the heroine is discovered outstretched on her island in the very abandonment of despair.
The opera as a whole is episodical in its dramatic construction, and the music is a mixture of two styles, the Wagnerian and the conventional Italian; but its orchestration is very bold and independent in character, and the voice-parts are very striking in their adaptation to the dramatic requirements. Leo Delibes, the French composer, was born at St.
The same may be said of Marianne Brandt, who sang the part of Kundry at the second "Parsifal" representation at Bayreuth, having been Frau Materna's alternate in 1882. With her superbly rich, deep-toned voice and her splendid vocal and dramatic control she thrilled her audiences in her Wagnerian rôles, in Beethoven's "Fidelio," and in all she attempted, whether in opera or concert.
"So be it!" he cried into Zuleika's ear cried loudly, for it seemed as though all the Wagnerian orchestras of Europe, with the Straussian ones thrown in, were here to clash in unison the full volume of right music for the glory of the reprieve. The fact was that the Judas boat had just bumped Univ., exactly opposite the Judas barge.
Almost all later music, and much of the earlier, sounds Wagnerian. But MacDowell has been reminded of Bayreuth very infrequently in this work. The opening movement begins with a sotto voce syncopation that is very presentative of the curious audible silence of a forest. The wilder moments are superbly instrumented.
There were one or two ambitious orchestra conductors in America; one in Chicago trying to introduce the Wagnerian polyphonic school, and perhaps one or two in New York; but the public clamoured after divas, prima donnas and tenors with temperaments and vocal pyrotechnic skill. For orchestral music there was little demand.
Evelyn was an excellent musician.... If a woman had the loveliest voice, and was as great a musician as Wagner himself, it would profit her nothing if she had not the strength to stand the wear and tear of rehearsals. He looked at Evelyn, and calculated her physical strength. She was a rather tall and strongly-built girl, but the Wagnerian bosom was wanting.
New Yorkers must consider themselves fortunate in having heard for two seasons the greatest of Wagnerian tenors even though he is no longer in his prime the man who sang the title rôle of "Tannhäuser" when that opera was produced in Paris in 1861; who created the part of Siegmund in 1876 at Bayreuth; and who, in his way, has done as much to popularize Wagner's operas as Liszt did during the Weimar period, when people had to go to that city to hear "Lohengrin" and "Tannhäuser," as they now go to Bayreuth to hear "Parsifal."
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