Word: barone
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Dates: during 1950-1959
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...English glees, canons, and catches. The chorus had a good time, and the audience left humming "Which is the properest day to drink?" indicating a liking for both form and content. In the following months, the Society tried Gilbert and Sullivan's "The Grand Duke," Strauss' "The Gypsy Baron," rare Mozart, a tribute to Queen Elizabeth, and several concerts of chamber music, all in the tradition of music seldom heard. Perry's search for suitable scores took him to Widener, to Boston, and then to libraries in England and France...
...Society felt that the challenge presented by concerts of unfamiliar music would be too much for a group limited to one House. Healthy fractions of the Glee Club, the Pierian Sodality, and the Radcliffe Choral Society have been used in most of the large concerts. For "The Gypsy Baron," the Society imported Polyna Stoska from the Met. "The Gypsy Baron" was the organization's most ambitious production, and its most serious setback...
...financial failure of "The Gypsy Baron" was attributed largely to Harvard's indifference to opera in general and Strauss in particular. But the failure was due not only to community apathy to the unsophisticated Strauss; it was also due to an attempt at lavish production which had only unpolished results. Polyna Stoska did not draw her money's worth. "The Gypsy Baron" was fun, but it was still the Adams House Musical Society, this time all dressed...
Money for all the productions of the Society came from the contributions of the individual members and from a small House committee grant, since (with the exception of "The Gypsy Baron") there has never been an admission charge for any production. Money, however, was not the organization's chief problem. Rehearsing a compete orchestra and chorus was difficult because most of the members also performed in other organizations which also claimed their time. Scores were not easy to come by and had to be copied by hand from those in Widener or in European libraries...
...portralt of Cowperwood as a typical "Robber Baron" partly fails, according to Matthiessen, as a result of the same flaw in the writer's attitude which Paul Elmer More later stiffly denied as "an oscillation between a theory of evolution which sees no progress save the survival of the rapaciously strong and a humanitarian feeling of solidarity with the masses who are exploited in the process...