Chapter 3

The performances of earlier Strauss works were in the main well attended. Oddly enough the poorest house—and it was far from empty—was that of The Rosecavalier. Possibly because the composer had gone over to Tübingen to conduct a concert there (he always makes hay while the Strauss shines), there was so little enthusiasm displayed; possibly also because Max Schillings conducted. He is an excellent [Pg 164] composer, a practical conductor, but he couldn't extract the "ginger¹" in the score—and it's full of it, full of fire, of champagne², of dreamy sentiment and valses that would turn gray with envy the hair of Johann Strauss if he hadn't thought of them before his namesake Richard. I didn't grow enthusiastic over the Stuttgart production, mainly a local affair. The honours of the evening rightfully belonged to Alwin Swoboda, who looked like De Wolf Hopper, but sang a trifle better. A favourite there is Iracema-Brügelmann; another, Erna Ellmenreich. One can sing, but acts amateurishly³; the other screams, but is a clever actress. In Salome she was wonderful, singing out of tune⁴ as she often did. Her pose was hieratic as a sphinx when she watched the antics of the neurasthenic Herod. And her dance was one of the best I have yet seen, though Aino Acté's is said to rank them all. Wittich, Krull, Destinn, Rose, Walther, Acté, not one of them ever sang as sang Olive Fremstad at that memorable⁵ dress rehearsal⁶ of a certain Sunday morning in the Metropolitan⁷ Opera-House. Vocally⁸ she was the Salome of Richard Strauss, and she was lovely to behold⁹. Salome herself should be a slight, cynical¹⁰ young person—half Flaubert, half Laforgue. Under Strauss the Salome is neither impossible nor vulgar. Very intense, an apparition¹¹ rather than a human, she sounds the violet rays of eroticism (if I may be forgiven such a confusion of terms, of such a mixed [Pg 165] metaphor). Another thing: the tempi¹² were different from Campanini's—i. e., the plastic quality of the reading gave us new colours, new scents¹³, new curves. Strauss is careless when he directs the works of others, but with his own he is all devotion. Take Elektra, for instance.

But I must finish my Salome budget. The Herod was not the actor that was Karl Burrian, but he sang better. His name is Josef Tyssen. The John was Herman Weil. Salome was preceded by Feuersnot, the folks-tone of which is an admirable foil to the overladen tints¹⁴ of Salome. (By the way, the sky in the latter opera showed the dipper constellation¹⁵, Charles's Wain. Now, will some astronomer¹⁶ tell us if such a thing is possible in Syrian skies?) Herman Weil was the chief point of attraction. As for the so-called immoral¹⁷ ending of the composition, discovered by amateur critical prudes, to be forthright¹⁸ in my speech, it is all nonsense: it doesn't exist. But Wolzogen doesn't follow the lines of the Famine of Fire. His is a love scene with a joke for relief. The music is ultra-Wagnerian, the finale genuine Strauss, with its swelling¹⁹ melos, its almost superhuman forcing of the emotional line to the ecstatic point.

In Elektra, with the composer conducting, I again marvelled²⁰ at the noisy, ineffective "reading" of a Hammerstein conductor, whose name I've forgotten. Yet New York has seen the best of Elektras, Mme. Mazarin—would that she had [Pg 166] sung and danced here in Stuttgart! She might have surprised the composer—but New York is yet to hear Elektra as music-drama. Thus far I think (and it's only one man's opinion) that Strauss will endure because of his Till Eulenspiegel, Don Quixote, and Elektra. The mists are gathering²¹ over the other works; Salome is too theatrical²², Feuersnot a pasticcio of Wagner, Guntram is out of the question (for ten years I've used it to sit on when I played Bach's C-major invention), and even the mighty²³ major-minor opening of Also Sprach Zarathustra begins to pall²⁴. But not Don Quixote, so full of irony²⁵, humour, and pathos²⁶; not Elektra, in the strictest sense of the word a melodrama²⁷, and certainly not the prankish²⁸ and ever inimitable Till Eulenspiegel. These abide²⁹ by one, whereas the head in Salome has become vieux chapeau. When Ellmenreich sang to it that night it might have been a succulent boar's head on a platter for all the audience cared. (I fancy they would have preferred the boar to the saint—deadliest of all operatic bores, for ever intoning a variant³⁰ of the opening bars of the Fidelio overture³¹.)

But the Stuttgart Elektra performance will live long in my memory, but not because of the lady who assumed the title r?le, Idenka Fassbender, of Munich. (She is not to be compared with the epileptic Mazarin for a moment. She is not Elektra vocally or histrionically.) The artiste of the evening was Anna von Mildenburg [Pg 167] (Vienna), the wife of Herman Bahr, novelist and playwright³², best known to America as the author of The Concert, one of David Belasco's productions. The Mildenburg is a giantess, with a voice like an organ. She is also an uneven³³ singer, being hugely temperamental. The night in question she was keyed up to the occasion, and for the first time I realised the impressiveness of the part of Klytemnestra, its horrid³⁴ tragic³⁵ force, its abnormal intensity³⁶, its absolute revelation of the abomination of desolation. Mildenburg played it as a mixture of Lady Macbeth and Queen Gertrude, Hamlet's mother. And when she sang fortissimo all the Strauss horses and all the Strauss men were as supine, tonally speaking, as Humpty Dumpty. Her voice is of a sultry tonal splendour.

The two new opera-houses—also theatres—are set in a park, as should be art and opera houses. Facing the lake is the larger, a building of noble appearance, with a capacity for 1,400 persons seated. The smaller building only holds 800, but it looks as big as the old New York Sub-Treasury, and is twice as severe. Max Reinhardt calls the Hof-Oper the most beautiful in Europe. He is not exaggerating. A round 7,000,000 marks (about $1,750,000) was the cost of the buildings. His Majesty³⁷ Wilhelm II, a liberal and enlightened monarch³⁸, dipped heavily into his private bank account. Stuttgart, according to the intendant, Graf zu Putlitz, must become the leading operatic and art city in Germany. [Pg 168] The buildings are there, but not yet the singers. Dresden boasts its opera, and Berlin has better singers. Nevertheless, the pretty city, surrounded by villa-crowned hills, is to be congratulated on such classic temples of music and drama.

1 ginger   

n.姜，精力，淡赤黄色；adj.淡赤黄色的；vt.使活泼，使有生气

参考例句：

• There is no ginger in the young man.这个年轻人没有精神。
• Ginger shall be hot in the mouth.生姜吃到嘴里总是辣的。

2 champagne   

n.香槟酒；微黄色

参考例句：

• There were two glasses of champagne on the tray.托盘里有两杯香槟酒。
• They sat there swilling champagne.他们坐在那里大喝香槟酒。

3 amateurishly   

adv.外行地，生手地

参考例句：

• He performed the piece amateurishly. 他演了一段，不是很专业。 来自《简明英汉词典》
• A heavy black volume, amateurishly bound, with no name or title on the cover. 这是一本黑面厚书，自己装订的，封面上没有书名或作者名字。 来自英汉文学

4 tune   

n.调子；和谐，协调；v.调音，调节，调整

参考例句：

• He'd written a tune,and played it to us on the piano.他写了一段曲子，并在钢琴上弹给我们听。
• The boy beat out a tune on a tin can.那男孩在易拉罐上敲出一首曲子。

5 memorable   

adj.值得回忆的，难忘的，特别的，显著的

参考例句：

• This was indeed the most memorable day of my life.这的确是我一生中最值得怀念的日子。
• The veteran soldier has fought many memorable battles.这个老兵参加过许多难忘的战斗。

6 rehearsal   

n.排练，排演；练习

参考例句：

• I want to play you a recording of the rehearsal.我想给你放一下彩排的录像。
• You can sharpen your skills with rehearsal.排练可以让技巧更加纯熟。

7 metropolitan   

adj.大城市的，大都会的

参考例句：

• Metropolitan buildings become taller than ever.大城市的建筑变得比以前更高。
• Metropolitan residents are used to fast rhythm.大都市的居民习惯于快节奏。

8 vocally   

adv. 用声音, 用口头, 藉著声音

参考例句：

• She is not SCREAMER or MOANER - She is VOCALLY APPRECIATIVE. 她并不乱叫或发牢骚，只是用声音表示喜怒。
• The left has been vocally against. 左派力量一直竭力声讨。

9 behold   

v.看，注视，看到

参考例句：

• The industry of these little ants is wonderful to behold.这些小蚂蚁辛勤劳动的样子看上去真令人惊叹。
• The sunrise at the seaside was quite a sight to behold.海滨日出真是个奇景。

10 cynical   

adj.(对人性或动机)怀疑的，不信世道向善的

参考例句：

• The enormous difficulty makes him cynical about the feasibility of the idea.由于困难很大，他对这个主意是否可行持怀疑态度。
• He was cynical that any good could come of democracy.他不相信民主会带来什么好处。

11 apparition   

n.幽灵，神奇的现象

参考例句：

• He saw the apparition of his dead wife.他看见了他亡妻的幽灵。
• But the terror of this new apparition brought me to a stand.这新出现的幽灵吓得我站在那里一动也不敢动。

12 tempi   

拍子，发展速度； 乐曲的速度或拍子( tempo的名词复数 )； （运动或活动的）速度，进度

参考例句：

• His playing drips with exaggerated rubato and unorthodox tempi(Annalyn Swan) 他的演奏渗透着夸张诡异的节奏（安纳莱恩斯旺）

13 scents   

n.香水( scent的名词复数 )；气味；（动物的）臭迹；（尤指狗的）嗅觉

参考例句：

• The air was fragrant with scents from the sea and the hills. 空气中荡漾着山和海的芬芳气息。
• The winds came down with scents of the grass and wild flowers. 微风送来阵阵青草和野花的香气。 来自《简明英汉词典》

14 tints   

色彩( tint的名词复数 )； 带白的颜色； （淡色）染发剂； 痕迹

参考例句：

• leaves with red and gold autumn tints 金秋时节略呈红黄色的树叶
• The whole countryside glowed with autumn tints. 乡间处处呈现出灿烂的秋色。

15 constellation   

n.星座n.灿烂的一群

参考例句：

• A constellation is a pattern of stars as seen from the earth. 一个星座只是从地球上看到的某些恒星的一种样子。
• The Big Dipper is not by itself a constellation. 北斗七星本身不是一个星座。

16 astronomer   

n.天文学家

参考例句：

• A new star attracted the notice of the astronomer.新发现的一颗星引起了那位天文学家的注意。
• He is reputed to have been a good astronomer.他以一个优秀的天文学者闻名于世。

17 immoral   

adj.不道德的，淫荡的，荒淫的，有伤风化的

参考例句：

• She was questioned about his immoral conduct toward her.她被询问过有关他对她的不道德行为的情况。
• It is my belief that nuclear weapons are immoral.我相信使核武器是不邪恶的。

18 forthright   

adj.直率的，直截了当的 [同]frank

参考例句：

• It's sometimes difficult to be forthright and not give offence.又直率又不得罪人，这有时很难办到。
• He told me forthright just why he refused to take my side.他直率地告诉我他不肯站在我这一边的原因。

19 swelling   

n.肿胀

参考例句：

• Use ice to reduce the swelling. 用冰敷消肿。
• There is a marked swelling of the lymph nodes. 淋巴结处有明显的肿块。

20 marvelled   

v.惊奇，对…感到惊奇( marvel的过去式和过去分词 )

参考例句：

• I marvelled that he suddenly left college. 我对他突然离开大学感到惊奇。 来自《简明英汉词典》
• I marvelled at your boldness. 我对你的大胆感到惊奇。 来自《简明英汉词典》

21 gathering   

n.集会，聚会，聚集

参考例句：

• He called on Mr. White to speak at the gathering.他请怀特先生在集会上讲话。
• He is on the wing gathering material for his novels.他正忙于为他的小说收集资料。

22 theatrical   

adj.剧场的，演戏的；做戏似的，做作的

参考例句：

• The final scene was dismayingly lacking in theatrical effect.最后一场缺乏戏剧效果，叫人失望。
• She always makes some theatrical gesture.她老在做些夸张的手势。

23 mighty   

adj.强有力的；巨大的

参考例句：

• A mighty force was about to break loose.一股巨大的力量即将迸发而出。
• The mighty iceberg came into view.巨大的冰山出现在眼前。

24 pall   

v.覆盖，使平淡无味；n.柩衣，棺罩；棺材；帷幕

参考例句：

• Already the allure of meals in restaurants had begun to pall.饭店里的饭菜已经不像以前那样诱人。
• I find his books begin to pall on me after a while.我发觉他的书读过一阵子就开始对我失去吸引力。

25 irony   

n.反语，冷嘲；具有讽刺意味的事，嘲弄

参考例句：

• She said to him with slight irony.她略带嘲讽地对他说。
• In her voice we could sense a certain tinge of irony.从她的声音里我们可以感到某种讥讽的意味。

26 pathos   

n.哀婉，悲怆

参考例句：

• The pathos of the situation brought tears to our eyes.情况令人怜悯，看得我们不禁流泪。
• There is abundant pathos in her words.她的话里富有动人哀怜的力量。

27 melodrama   

n.音乐剧；情节剧

参考例句：

• We really don't need all this ridiculous melodrama!别跟我们来这套荒唐的情节剧表演！
• White Haired Woman was a melodrama,but in certain spots it was deliberately funny.《白毛女》是一出悲剧性的歌剧，但也有不少插科打诨。

28 prankish   

adj.爱开玩笑的，恶作剧的；开玩笑性质的

参考例句：

29 abide   

vi.遵守；坚持；vt.忍受

参考例句：

• You must abide by the results of your mistakes.你必须承担你的错误所造成的后果。
• If you join the club,you have to abide by its rules.如果你参加俱乐部，你就得遵守它的规章。

30 variant   

adj.不同的，变异的；n.变体，异体

参考例句：

• We give professional suggestions according to variant tanning stages for each customer.我们针对每位顾客不同的日晒阶段，提供强度适合的晒黑建议。
• In a variant of this approach,the tests are data- driven.这个方法的一个变种，是数据驱动的测试。

31 overture   

n.前奏曲、序曲，提议，提案，初步交涉

参考例句：

• The opera was preceded by a short overture.这部歌剧开始前有一段简短的序曲。
• His overture led to nothing.他的提议没有得到什么结果。

32 playwright   

n.剧作家，编写剧本的人

参考例句：

• Gwyn Thomas was a famous playwright.格温·托马斯是著名的剧作家。
• The playwright was slaughtered by the press.这位剧作家受到新闻界的无情批判。

33 uneven   

adj.不平坦的，不规则的，不均匀的

参考例句：

• The sidewalk is very uneven—be careful where you walk.这人行道凹凸不平—走路时请小心。
• The country was noted for its uneven distribution of land resources.这个国家以土地资源分布不均匀出名。

34 horrid   

adj.可怕的；令人惊恐的；恐怖的；极讨厌的

参考例句：

• I'm not going to the horrid dinner party.我不打算去参加这次讨厌的宴会。
• The medicine is horrid and she couldn't get it down.这种药很难吃，她咽不下去。

35 tragic   

adj.悲剧的，悲剧性的，悲惨的

参考例句：

• The effect of the pollution on the beaches is absolutely tragic.污染海滩后果可悲。
• Charles was a man doomed to tragic issues.查理是个注定不得善终的人。

36 intensity   

n.强烈，剧烈；强度；烈度

参考例句：

• I didn't realize the intensity of people's feelings on this issue.我没有意识到这一问题能引起群情激奋。
• The strike is growing in intensity.罢工日益加剧。

37 majesty   

n.雄伟，壮丽，庄严，威严；最高权威，王权

参考例句：

• The king had unspeakable majesty.国王有无法形容的威严。
• Your Majesty must make up your mind quickly!尊贵的陛下，您必须赶快做出决定！

38 monarch   

n.帝王，君主，最高统治者

参考例句：

• The monarch's role is purely ceremonial.君主纯粹是个礼仪职位。
• I think myself happier now than the greatest monarch upon earth.我觉得这个时候比世界上什么帝王都快乐。