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BookOfOperas #214 A Book of Operas Project Gutenberg EBook of A Book of Operas by Henry Edward Krehbiel
The style of the music was (More) Project Gutenberg EBook of A Book of Operas by Henry Edward Krehbiel
The style of the music was new to the singers, and they pronounced it unsingable. They begged him to make changes, but Beethoven was adamant. The rehearsals became a grievous labor to all concerned. The production was set down for November 20, but when the momentous day came, it found Vienna occupied by the French troops, Bonaparte at Schonbrunn and the capital deserted by the Emperor, the nobility, and most of the wealthy patrons of art. The performance was a failure. Besides the French occupation, two things were recognized as militating against the opera's success:--the music was not to the taste of the people, and the work was too long. Repetitions followed on November (Less)
BookOfOperas #249 A Book of Operas Project Gutenberg EBook of A Book of Operas by Henry Edward Krehbiel
unnaturally, the conclusion (More) Project Gutenberg EBook of A Book of Operas by Henry Edward Krehbiel
unnaturally, the conclusion was jumped at that it was the original overture. That known as "Leonore No. 2" having been withdrawn for revision by Beethoven himself, was not heard of till 1840, when it was performed at a Gewandhaus concert in Leipsic. For the revival of the opera in 1814 Beethoven composed the overture in E major, now called the "Fidelio" overture, and generally played as an introduction to the opera, the much greater "Leonore No. 3" being played either between the acts, or, as by Mahler in New York and Vienna, between the two scenes of the second act, where it may be said it distinctly has the effect of an (Less)
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