By Gerald Bordman
Gerald Bordman's American Musical Theatre has turn into a landmark publication for the reason that its unique ebook in 1978. during this 3rd version, he bargains authoritative summaries at the normal inventive tendencies and advancements for every season on musical comedy, operetta, revues, and the one-man and one-woman exhibits from the 1st musical to the 1999/2000 season. With distinct express, music, and folks indexes, Bordman offers a operating statement and evaluation in addition to supplying the fundamental evidence approximately every one construction.
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In this case the gypsy girl, Maritana, and a young noble, Don Caesar, go off to consummate their marriage despite the intrigues of Don Jose on behalf of the lascivious King of Spain. Since the Se- 16 Prologue guins did not offer the work until the last three nights of their repertory season, Maritana's first run was brief. " Their popularity assured frequent revivals. Inevitably, American composers tried their own hand at similar offerings. On 27 September 1855, Niblo's Garden played host to the world premiere of Rip Van Winkle, an opera with a libretto by J.
As a result, although the mounting achieved a "run" of 156 performances before it was withdrawn on 25 March, it did so in a happenstance repertory with Ristori and other productions. The record was impressive for the time—all the more impressive since the work was sung in French. (Hereafter, with some exceptions that should be obvious, opera bouffe titles will be given in the language used to sing the mounting. ) The Devil's Auction (3 October 1867, Banvard's Opera House) was a patent attempt to cap- 24 Act One: Early Successes italize on the success of The Black Crook.
There are, however, a number of musical cues. They indicate ballet music or melodramatic backgrounds. While much of the music, as it had been in the old ballad opera tradition, was derived from the better-known and well-loved compositions of the day, several composers contributed new melodies, notably one Thomas Baker. For the most part, the songs failed to catch the public's fancy. They were replaced at intervals all through the long run and the subsequent reviv- als. The only tune singled out for praise by the New York Times reviewer was a number he called "The Naughty Men," which was published as "You Naughty, Naughty Men" (G.
American Musical Theater: A Chronicle by Gerald Bordman