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Aldini a Romantic Comedy in Four Acts (Classic Reprint)

Aldini a Romantic Comedy in Four Acts (Classic Reprint)

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Excerpt from Aldini a Romantic Comedy in Four Acts

Scene I - (In the boudoir of Mlle. Irene Beauchamp, Paris, October 17, 1910, 8 p. m. She is seated with her Aunt and chaperon, Heloise Beauchamp, at the table, reading, while her Aunt is sewing. She puts down the paper she has been reading and turns to her Aunt and says:)

Irene - Auntie, did you see how Brunhilde was encircled with flames last night?

Auntie - Yes, and it seemed to me a very dangerous thing to do. What if she had caught fire?

Irene - Well, I suppose they have firemen in the wings, in case that should happen; but it was such a strange thing to do on the stage. Wagner was certainly a dramatic poet, as well as a great composer.

Auntie - Yes, indeed, but I have always wondered why he took his subjects from myth or legend, when he might have treated real people and events, such as we are familiar with. Mozart's "Marriage of Figaro," Rossini's "Barber of Seville," and our own Gounod's "Marguerite," or "Faust," as they call it in Germany, are much more human and lifelike than any of Wagner's operas.

Irene - That is true. "The Flying Dutchman," "Tannhauser," "Lohengrin," "Parsifal," "Tristan and Isolde," "The Meistersingers," and the entire cycle of the "Nibelungen Lied," are drawn from the old myths in which Wagner seemed to revel.

Auntie - Wagner's music is quite as romantic as his librettos, and yet he has conquered the world and found many imitators. Paris was hostile to him for years, and even yet there is a bitter feeling against his theory of dramatic art.

Irene - I have just been reading an article by Monsieur Francois L'Estrange about that very thing. He treats it in a very broadminded way.

Auntie - Monsieur L'Estrange is a very broadminded man. Of all the men in our circle, he pleases me the most. He seems to see into people and find their very souls, to a degree that constantly surprises me in so young a man.

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