The standard operas: their plots, their music, and their composers

Front matter

Lilli Lehmann as Isolde

Copyrisht, Aiine Dupont

MT

Preface

THE object of the compiler of this Handbook is to present to the reader a brief but comprehensive sketch of the operas contained in the modern repertory. To this end he has consulted the best authorities, adding to the material thus collected his own observations, and in each case has presented a necessarily brief sketch of the composer, the story of each opera, the general character of its music, its prominent scenes and numbers, — the latter in the text most familiar to opera-goers, — the date of first performances, with a statement of the original cast wherever it has been possible to obtain it, and such historical information concerning the opera and its composition as will be of interest to the reader. As many new operas have been produced since "The Standard Operas" was first published, these have been included in the new edition, although it is as yet uncertain whether some of them will become " standard " in the strict sense of the word. In a work of this kind, indeed, the selection of *' standard '* operas must be somewhat arbitrary. It is difficult to say where the line should be drawn. The writer's aim has been to acquaint his reader with the prominent operas of the past and the present, assuming that it may be well to know their story and musical construction whether they retain their places upon the stage or not. The work has viii PREFACE

been prepared for the general public rather than for musicians; and with this purpose in view, technicalities have been avoided as far as possible, the aim being to give musically uneducated lovers of opera a clear understanding of the works they are likely to hear, and thus heighten their enjoyment. To add to their pleasure and recall delightful memories, the new edition has been illustrated generously with portraits of leading artists in their most favorite roles. In a word, the operas are described rather than criticised, and the work is presented with as much thoroughness as was possible, considering the necessarily brief space allotted to each opera. In the preparation of the Handbook the compiler acknowledges his indebtedness to Grove's "Dictionary of Music," Baker's "Biographical Dictionary of Musicians," Champlin and Apthorp's "Cyclopedia of Music and Musicians," and Ramann*s " Opern Handbuch" for dates and other statistical information; and he has also made free use of standard musical works in his library for historical events connected with the performance and composition of the operas. He has sought to obtain accuracy of statement by verification after consultations of the best authors, and to make "Standard Operas" a popular reference for opera-goers. It only remains to submit this work to them with the hope that it may add to their enjoyment and prove a useful addition to their libraries.

G. P. U.

Chicago, June, 1906.