Word: librettos
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Dates: during 1920-1929
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Dante's Inferno. Dore rather than Dante was the libretto employed for this extraordinary study of home life in hell. All the writhing agonies of the Dore decorations are transplanted and pricked with pins to make them wriggle. Showers of fire, bubbling pitch, blood-stained harpies are industriously pitch-forked together for the discomfiture of most of the prominent sinners of History. It is all supposed to be the dream of a very wicked business man who fell asleep over a copy of Dante. Except for sinners who have the misfortune to be selfconscious, the film is respectfully recommended...
John Drink water, author of Abraham Lincoln, Mary Stuart, Oliver Crom well, Robert E. Lee and other dramatic histories, has completed a libretto for an opera, based on the life of Robert Burns, eternal Scots laureate poet. This screed is now in the hands of composer Ernest Austin, an Englishman, known chiefly for his colossal organ tone-poem, Pilgrim's Progress, in twelve huge parts. In the new work, Austin plans to make use of many Scotch folk-tunes, including several of the familiar melodies now associated with Burns' popular lyrics...
Maurice Ravel, Frenchman of devilish cleverness and satanic fertility, is busy putting the delights and horrors of Monte Carlo into operatic form. His libretto was written by Mme. Colette, who had laid its scene on the Côte d'Azur...
...weaker sex in Quakertown," the latter hits upon a great advertising scheme, takes it to New York, finally acquires dollars to the general extent of a million. Meanwhile, she has been waiting for him. This seemed a serious error in construction on the part of the authors, since any libretto which eliminates Helen Ford from an entire second act can hardly be called flawless. There were one or two able melodies in the proceedings and many players of moderate reputation and ability. John Meehan, who long stood at the right hand of George M. Cohan, staged the piece and inserted...
...rises from her knees, there is a knock at the door and the Wandering Woman, a mysterious figure, enters. She is well treated, adds her prayers to those of Rose-Marie. The secret is accordingly revealed, and Rose collects the reward of virtue, piety and poverty. The music. The libretto offers but scant opportunity to the dramatic composer. There is little agitated action, no clamor, no shooting. Consequently the music is calm, unruffled, graceful, cleverly scored. While it cannot touch Olympian heights, it remains colorful and suave. The performance. Ina Boúrskaya, as the heroine, injected as much warmth...