Word: operettas
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White Lilacs. With appropriate adaptations of waltz and mazurka, the Shubert Brothers offered this glib and pleasant operetta based upon the life of famed Composer Frederic François Chopin. It stresses the episodes in which the composer was seen about with George Sand, meeting her at the home of the Countess d' Agoult and playing or grieving with her at Majorca...
...Operetta is the most romantic species of the art of the stage. Hence in White Lilacs there is not much effort to trace too accurately the mazy path of history. Nor is wit important to the operetta, and White Lilacs puts business before pun. Guy Robertson (as Chopin), De Wolf Hopper, Odette Myrtil supply these; the legitimate copies of the composer's original tunes especially help produce in White Lilacs an engaging show...
...Shuberts, too, seem anxious to bring culture to the musical stage. Their first offering is to be White Lilacs, an operetta based on the life of Chopin and accompanied by arrangements of his melodies. It is interesting to observe that Broadway's most potent brothers never seem to get left very far behind. While Harris and White and The Guild, all comparatively new competitors, leap ahead with inspiration, the Shuberts gallop steadily along, always good-natured and always ready to accept the new thing without growls and murmurs. Their faces have none of the melancholy which distinguishes that...
...Salzburg, birthplace of Wolfgang Amadeus Mozart, rock of classicism, the Leningrad Operatic Studio, last week, ironically burlesqued his Bastien et Bastienne. That pastoral operetta he wrote when he was 12 (he died in 1791, at 35). It has three characters-the shepherd sweethearts and a patriarch. The Russians last week added 13 more and played the piece with machinery of production grossly exposed...
...works of Gilbert and Sullivan than the malleable resistance which they offer to amateur performers. When last week the Play-Arts Guild, a Baltimore organization, ventured to put Patience on Broadway it was not unnaturally anticipated as a case of murder for no profit. Yet the old operetta retained its airy, foolish charm. The girls of the chorus, it must be confessed, were pretty though perhaps not artful dodgers; and if the principals were at times too violent, their merry unconsciousness of this fact, fitting the good-humored mood of the piece, did much to allay the defect...