Word: gounod
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Dates: during 1920-1929
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...Hell to pay the Devil's bargain. . . . President and Mrs. Coolidge, and the better part of distinguished Washington, last week enjoyed an enactment of this old tale-the tale of Dr. Faustus, legendary German philosopher, modified from Poet Goethe's tragedy for Composer Gounod's opera and re-modified into English, for the opening night of the American Opera Co. at Poli's Theatre (see Music, p. 22, for a further account). President Coolidge had been pleased to greet all the singers at the White House earlier in the day. He stayed through their whole performance...
...beauty of the whole, that Washington, dull musically, waxed enthusiastic and fairly hugged itself in the thrill of a new discovery. It was a Faust rejuvenated, lifted well out of the operatic rut, a Faust as true to the spirit of Goethe's poem as to Gounod's music. There was no portly prima donna past her prime to parade as the guileless Marguerita, no heroic stage devil preposterously horned and tailed, no paunchy, heroic Faust singing to the gallery. All that had been discarded. Instead, the curtain went up on one Faust, an aged dissatisfied philosopher with...
...Martin, tenor, onetime (1921) mainstay of the Harvard Glee Club, broke a precedent last week in Paris. They were the first natives of the U. S. ever to appear in leading roles at the National Opera. They sang well the roles of Marguerite and Faust, respectively, in Charles Francois Gounod's mighty Faust...
...program follows: Overture to "The Marriage of Figaro" Mozart Ballet Music Gluck-Mottl Tambourin--Gavotte--Chaconne Turkish March from "The Ruins of Athens" Beethoven Ride of the Valkyries from "The Valkyrie" Wagner Cortege from "The Queen of Sheba" Gounod Suite, "Namouna" Lalo "Children's Corner," Suite Debussy-Caplet "Espana," Rhapsody Chabrier Indian Sketches Gilbert Prelude--Invocation--Snake Dance Largo Handel Pomp and Circumstance Elgar
...Rodolfo, Tosti making great goggle eyes from the front row. It, too, had been the first Covent Garden performance after the War, when a shabby tweed audience replaced the pompous black. Yes, La Bohème was good. But so was Romeo et Juliette, which she had studied with Gounod himself-Gounod with his velvet skullcap and his velvet smoking jacket-Romeo et Juliette in which she had made her first successful London appearance with Jean de Reszke her Romeo, his brother Edouard the Friar. And there was Otello, fruit of Verdi's Indian-summer genius. She had sung...