Transcriber's Note: Obvious printer errors have been correctedwithout note. Skipped page numbers are due to blank pages and repeated half-titles in the original.
ASPECTS OF
MODERN OPERA
Estimates and Inquiries
BY
LAWRENCE GILMAN
AUTHOR OF
“The Music of To-morrow,” “Phases of Modern Music,” “Stories
of Symphonic Music,” “Edward MacDowell: A Study,”
“Strauss’ ‘Salome’: A Guide to the Opera,”
“Debussy’s ‘Pelléas et Mélisande’: A
Guide to the Opera,” etc.
New York: JOHN LANE COMPANY
London: JOHN LANE, THE BODLEY HEAD
MCMIX
Copyright, 1908,
John Lane Company
THE UNIVERSITY PRESS, CAMBRIDGE, U.S.A.
TO
ERNEST NEWMAN
A CRITIC OF
BREADTH, WISDOM, AND INDEPENDENCE
THESE STUDIES
ARE APPRECIATIVELY INSCRIBED
CONTENTS
| Page | |
| Introductory: The Wagnerian Aftermath | 1 |
| A View of Puccini | 31 |
| Strauss' "Salome": Its Art and its Morals | 65 |
| A Perfect Music-Drama | 107 |
INTRODUCTORY
THE WAGNERIAN AFTERMATH
Since that day when, a quarter of a century ago, Richard Wagner ceasedto be a dynamic figure in the life of the world, the history ofoperatic art has been, save for a few conspicuous exceptions, a barrenand unprofitable page; and it has been so, in a considerable degree,because of him. When Mr. William F. Apthorp, in his admirable historyof the opera—a book written with unflagging gusto and-4-vividness—observed that Wagner's style has been, since his death,little imitated, he made an astonishing assertion. "If by Wagner'sinfluence," he went on, "is meant the influence of his individuality,it may fairly be said to have been null. In this respect Wagner hashad no more followers than Mozart or Beethoven; he has founded noschool." Again one must exclaim: An astonishing affirmation! and it isnot the first time that it has been made, nor will it be the last. Yethow it can have seemed a reasonable thing to say is one of theinsoluble mysteries. The influence-5- of Wagner—the influence of hisindividuality as well as of his principle