In the Garret
Contents: Variations on a theme by Havelock Ellis; A note on Philip Thicknesse; The folk-songs of Iowa; Isaac Albeniz; The holy jumpers; On the relative difficulties of depicting heaven and hell in music; Sir Arthur Sullivan; On the rewriting of masterpieces; Oscar Hammerstein; La Tigresse; Mimi Aguglia as Salome; Farfariello; The Negro Theatre; The Yiddish Theatre; The Spanish Theatre.
“When he surveys the American scene we go all the way with Mr. Van Vechten. He celebrates his attachment to New York as ecstatically as Charles Lamb’s his to London, in a chapter called La Tigresse. This is the best thing in the book. And Mr. Thomas Burke, in England, alone has caught this peculiar gusto.”—The London Times.
Alfred A. Knopf, Publisher, New York
Footnotes
A Madame Fremstad has appeared in concert in New York but not in opera.
B The fault is really typical of that school of criticism which is always comparing, instead of searching out an artist’s intention and judging whether or not he has realized it.
C Maurice Maeterlinck broke a promise to Georgette Leblanc of seventeen years’ standing to witness a performance of Debussy’s lyric drama on January 27, 1920, when, with the new Madame Maeterlinck, he sat in a box, remaining till the final curtain, at the Lexington Theatre in New York. After the fourth act, responding to Miss Garden’s urge and the applause of the audience, he rose to bow.
Note of transcriber of this etext: the consistent spelling of choregraphy has not been corrected overwhemingly=>overwhelmingly