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Updated: June 26, 2025
Spinelli's 'A Basso Porto' , which has been performed in English by the Carl Rosa Opera Company, is redolent of Mascagni's influence, but the nauseating incidents of the plot make 'Cavalleria, by comparison, seem chaste and classical.
The band is playing Mascagni's last in the Jardin Public; the carriages are drawn up beside the palms and judas-trees that fringe the Paillon; the sous-officiers are strolling along the wall with their red caps stuck jauntily just a trifle on one side, as though to mow down nursemaids were the one legitimate occupation of the brav' militaire.
Yes, I think that's a fair description of him!" He waited until the stranger was engaged in reading the programme, and then he jotted down on his writing-paper, "Mr. Pietro Mancinelli played Mascagni's Pavana delle Maschere with great technical ability, but with hardly any emotional quality!"
He played Mascagni's Pavana delle Maschere, and while he played it, John took some writing paper from his pocket and prepared to note down his opinions of the evening's entertainment. "Hilloa," said the stranger in a whisper, "are you a critic?" John, feeling extraordinarily important, nodded his head and continued to listen to the music. It sounded quite pleasant, but it conveyed nothing to him.
She gave no more thought to the matter which just for the most fleeting moment had rather piqued her, but sat drinking in the music of Mascagni's immortal opera entirely ignoring the fact that Palgrave's face was within an inch of her shoulder and that Alan Hosack, on her other side, was whispering heavy compliments.
Anita, testing the strings, her bow wandered into the soft heart-moving music of Mascagni's Intermezzo. Neroda said nothing, but watched his favorite pupil. Usually she took up her violin with a calm confidence, like a young Amazon taking up her well-strung bow for battle, because the violin must be subdued; it must be made to obey; it must feel the master hand before it will speak.
The first is a delicate little story of an old bachelor's love for a pretty country girl, the second a village 'Romeo and Juliet, showing how an internecine feud between two brothers is ended by the mutual love of their children. Mascagni's melodramatic style was ill suited to idylls of this kind.
It is peculiarly Italian in its motive, running a swift, sure gamut of love, flirtation, jealousy, and death, a melodrama of a passionate and tragic sort, amid somewhat squalid environments, that particularly lends itself to music of Mascagni's forceful sort. The overture graphically presents the main themes of the opera, and these themes illustrate a very simple but strong story.
Unfortunately such gems as these only make the coarseness of their setting the more conspicuous, and on the whole the sooner the world forgets about 'L'Amico Fritz' and 'I Rantzau' the better it will be for Mascagni's reputation. 'Guglielmo Ratcliff' and 'Silvano, both produced in 1895, have not been heard out of Italy, nor is there much probability that they will ever cross the Alps.
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