The Metropolitan Book of the Opera [antikvár]

FOREWORD There akeady exist many valuable books devoted to the plots and the music of operas. Why then another book on the subject? The present volume is addressed primarily to the American public. The choice of operas for consideration has been carefuUy related to the repertory of the MetropoUtan Opera House, the institution which for more than half a century has exerted the strongest influence on the lyric drama in this country. Still, though the large existing repertory of the Metropolitan provides a great part of the substance of the volume, the scope of the book necessarily is not limited by the activities of any one theater. Accordingly, a number of operas are included which, though unUkely to be presented at the Metropolitan, may perhaps be staged elsewhere. Due space has also been given to operas of such paramount historical significance that their claims to attention cannot be disregarded, even though the probability of production be of the smallest. At the same time considerations of space have compelled the omission of some operas for which a few readers might look. Thus, there is no mention of operas by such distinguished ancients as Alessandro Scarlatti and Johann Adolph Hasse or by various moderns whose works no matter how they may rank in their respective countries are ill adapted to export. Special emphasis has been laid on works by American composers produced at the Metropolitan Opera House, which for many years has encouraged native operatic composition through its receptiveness and practical support. My cordial thanks are due to those who have helped me in the preparation of my portion of this book, especially to Robert C. Bagar and Louis BiancoUi for valuable assistance in research. P. S.