Word: strauss
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Dates: during 1920-1929
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...unusual program is announced for the first concert of the year: The first movement of a Symphony "Pilgrim" by Paul Allen '04, Rondino by Libelius, "In Silent Forests" by Richard Strauss, Rumanian Folk-Dances by Mela Bartok as well as that orchestral fantasia "Jonny strikes up" by Ernest Krenek, which is so popular in Europe...
...Volksoper Jeritza had her most rigorous training, learned stage technique and many rôles. While there she took a holiday at Ischl where the Imperial family spent its summers. The Emperor Franz Josef liked the opera, liked especially Die Fledermaus of Johann Strauss. He went one night when Jeritza was Rosalinda, sat attentive in his box, tapped his foot to the music, clapped loudly when she sang the Czardas. Three times Jeritza curtsied deep and began again. . . . The performance went on. ... Right triumphed over wrong. . . . The old Emperor beckoned an attendant: "Why have they always old, fat singers...
...became the Great Jeritza to a gay, music-loving Vienna. Her fame grew with her repertoire. A beautiful prima donna has always seemed a phenomenon. Here was one magnificently built, with sea-blue eyes and golden hair. The public raved. Composers made their music for her. She created Strauss' Ariadne, later the Empress in Die Frau ohne Schatten. She was his Salome, his Octavian (Der Rosenkavalier). He saw her in Max Reinhardt's revival of Offenbach's Belle Hélène and an idea was born. It simmered and swelled until last winter he finished...
...singers arrived, the actors arrived, but the burgher wanted his art short. Opera plus play would take too long so he ordered them run off together. On such a farcical notion did Moliere make his Bourgeois Gentilhomme. Hugo von Hofmannsthal used it for Ariadne auf Naxos for which Richard Strauss wrote the music. Last week the Strauss-von-Hofmannsthal opus, given first in Stuttgart in 1912 with Maria Jeritza, had its U. S. première-with the enterprising Philadelphia Civic Opera Company...
Ariadne, never among the most successful of Strauss operas, has had frequent amendments. In its present form there is a prologue and one act, which makes a play within the play. Ariadne, tragically abandoned by Theseus, must listen to the cajolery of Zerbinetta, the comedienne; listens to learn and herself turns finally to Bacchus. All this Strauss has set to droll, delightful music which demands more of his singers' virtuosity than of his own originality. Philadelphia singers lacked the necessary virtuosity last week but Alexander Smallens almost atoned with his 37-piece orchestra...