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...musical era, as well as a great loss to Columbia. He, and his contemporaries, Seidl, Mahler, Mottl, etc., grew up in Germany when Germany was cock of the musical roost and knew it. They worked under Liszt in Weimar, they learnt their Wagner opera in Bayrenth under the eye of the "Master," and in the flush post-war days they made Salzburg a summer Mecca for European big-wigs, where Mozart and Beethoven had to fight Schiaparell for the center of the stage. Of all this illustrious company of conductors, Weingartner was perhaps the most talented...

Author: By Robert W. Flint, | Title: THE MUSIC BOX | 8/5/1942 | See Source »

...Sessions refreshes our memory with a piquant resume of the pros and cons of the Parsifal question, of considerable moment since the expiration of the Bayrenth copyright. There seems to be a slight inconsistency between the statement that Parsifal as a character is one of Wagner's dramatic failures and the following acknowledgement that a good singing actor can make the role entirely convincing. But all this is not to carp unduly. The problem in all criticism, musical or general, is how to hold the balance true between courage and personal conviction and a broad estimate of different aspects...

Author: By W. R. Spalding ., | Title: Our Opera an Exotic Growth | 4/15/1914 | See Source »

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