A Second Book of Operas (eBook, ePUB) - Krehbiel, Henry Edward
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"Whether or not the English owe a grudge to their Lord Chamberlain for depriving them of the pleasure of seeing operas based on Biblical stories I do not know. If they do, the grudge cannot be a deep one, for it is a long time since Biblical operas were in vogue, and in the case of the very few survivals it has been easy to solve the difficulty and salve the conscience of the public censor by the simple device of changing the names of the characters and the scene of action if the works are to be presented on the stage, or omitting scenery, costumes and action and performing them as oratorios.…mehr

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Produktbeschreibung
"Whether or not the English owe a grudge to their Lord Chamberlain for depriving them of the pleasure of seeing operas based on Biblical stories I do not know. If they do, the grudge cannot be a deep one, for it is a long time since Biblical operas were in vogue, and in the case of the very few survivals it has been easy to solve the difficulty and salve the conscience of the public censor by the simple device of changing the names of the characters and the scene of action if the works are to be presented on the stage, or omitting scenery, costumes and action and performing them as oratorios. In either case, whenever this has been done, however, it has been the habit of critics to make merry at the expense of my Lord Chamberlain and the puritanicalness of the popular spirit of which he is supposed to be the official embodiment, and to discourse lugubriously and mayhap profoundly on the perversion of composers' purposes and the loss of things essential to the lyric drama.

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Autorenporträt
Henry Edward Krehbiel (1854-1923) was an esteemed American music critic and musicologist renowned for his extensive tenure as the principal music critic of The New York Tribune, spanning over four decades. Krehbiel, among Richard Aldrich, Henry Theophilus Finck, W.J. Henderson, and James Huneker, is regarded as a member of the 'Old Guard', a cohort of prominent music critics located in New York who played a pivotal role in establishing a distinctively American approach to criticism. The critic displayed a pronounced inclination towards empiricism, often engaging in the active pursuit of firsthand experiences, accounts, and original sources in his writing. He independently formulated his own findings rather than relying on existing literature by other authors. Krehbiel, being a proponent of meliorism, held the belief that the primary function of criticism was to provide endorsement for music that had the capacity to elevate both the human spirit and intellect. Furthermore, Krehbiel argued that criticism should not only serve as a mechanism for shaping individual preferences, but also as a vehicle for enlightening and instructing the general public. The instructional guide titled "How to Listen to Music," authored by the individual in question, enjoyed significant popularity among the music-consuming public in the United States from 1896 to 1924.