Plusieurs chapitres de l'opéra : être observations historiques et critiques et dossiers concernant le drame lyrique à New York de 1908 à 1918 . ewspaper : M. Cadmans peu opera contient les éléments de force et de sincérité dramatique ; et thesehave l'a recommandé à l'attention du public. Il s'agit d'alwaysmelodious, et bien sûr qui compte pour beaucoup, et la première loi a un duo de qualité mérite vraiment. Il a thecharacter des compositeurs de chansons et il ne monte pas à des niveaux supérieurs de style lyrique, mais il a le tempérament anddramatic sentiment. C'était un verdict invité par une volonté être comme genre comme po

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More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918 . ewspaper: Mr. Cadmans little opera containsthe elements of dramatic sincerity and force; and thesehave commended it to the public attention. It is alwaysmelodious, and of course that counts for much, and thefirst act has a duet of really meritorious quality. It has thecharacter of the composers songs and it does not rise tothe higher levels of lyric style, but it has temperament anddramatic feeling. This was a verdict prompted by a desireto be as kind as possible to a native work because it was anative work. An American ballet associated with it in per-formance was the Dance in the Place Congo, originallycomposed by Henry F. Gilbert as a free rhapsody on Creolemelodies to which attention had been called many yearsbefore by a series of magazine articles written by GeorgeW. Cable. Choreographic scenes with a conventional plotof jealousy and murder were grafted onto the music byMr. Ottokar Bartik. The music was voted good, even ad-mirable, in its way, but the dramatic scenes were neither. Sophie BraslauAs Shanewis PROBLEMS RAISED BY THE WAR 413 varied nor significant enough to justify the title ballet, andthe work lived a shorter life than it would probably haveenjoyed had it been reserved for the concert-room, forwhich it was designed. This brings the record of the effect of the war uponmusic in the United States and opera at the MetropolitanOpera House, with which the last chapters of these memoirsare particularly concerned, to an end. There remains whatI must look upon in the light of an obligation, since mypurposes have been critical as well as historical from thebeginning, to discuss the aesthetic principles which have beenbrought into court by the facts presented. I do not careto indulge in speculation or prophecy touching the future, in which matters will inevitably adjust themselves. Through-out the period of political turmoi

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