Music Trade Review
Issue: 1910 Vol. 51 N. 20 - Page 49
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THE MUSIC TRADE REVIEW
A Victor Herbert Triumph
Was produced at the New York Theatre, Monday Evening, November 7th, 1910
when Mr. Oscar Hammerstein presented his new Comic Opera
" Naughty Marietta"
Book and Lyrics by RIDA JOHNSON YOUNG
WITH
Mile. Emma Trentini
And an exceptional cast including"
C| Never in the history of musical productions was such a tribute in the way of an ova-
tion paid to a composer as Mr. Herbert received on this occasion.
WE APPEND A FEW PARAGRAPHS FROM THE VARIOUS CRITICISMS
THE MORNING WORLD.—Victor Herbert's music
is of high excellence. It is not only tuneful but of
substantial worth.
NEW YORK HERALD.—"Naughty
Marietta" over-
flows with melody that is really sung and played. Mr.
Herbert conducted his own score and got every effect
and climax possible out of it
NEW YORK TELEGRAM.—It is designated a
comic opera by the manager folks. It is more than
that. It is a tuneful opera. Victor Herbert wrote
the music, and that accounts for its melody.
NEW YORK AMERICAN.—-The opening number,
the overture, gave the audience a good idea of the
quality of music to follow. It was a bouquet of
melody, masterfully orchestrated, and played by a
company of grand opera musicians. The solos were
naive and original, especially those that fell to Mile.
.Trentini in the title role.
MORNING TELEGRAPH.—Herbert's onera has
great charm. Tastefully and brilliantly produced at
the New York gets a big welcome.
He conducted
with all his urgent and communicative energy, and
pioneered his latest work into popular success. Flowers
ran wild at the proper moment and loud acclamation
called the Wagner of operetta on the stage.
EVENING
JOURNAL.—"Naughty
Marietta" is
Victor Herbert at his very best, which means a light
opera score filled with music that has both distinction
and originality, music with true characteristic quality
and with a highly interesting and musicianly har-
monic orchestral accompaniment. Mile. Trentini had
the leading role.
THE SUN.—Victor Herbert's music is a real pleas-
ure to hear. On one of the pages of the programme
is a list of the titles of the songs, so that you can
pick out the ones you like best. You will have almost
as hard a time as the audience of last night, which
tried its level best to encore every one of them fifteen
times and to make the performance last till time for
the milk wagons to go round.
ACTON DAVIES IN THE EVENING SUN.—In
Victor Herbert's "Naughty Marietta" both Mile.
Trentini and Orville Harrold create sensations. A
magnificent quartette amid a splendid chorus makes
Oscar Hammerstein's new company the greatest sing-
ing organization in the history of comic opera—Victor
Herbert "comes back" with a vengeance, and earns
an ovation on his own account. A very remarkable
first night performance.
THE EVENING POST.—-Victor Herbert has added
another excellent light opera to his long list. There
isn't a dull moment in it, and in the orchestral score
there are not a few pearls which expert divers may
get hold of. Last evening he added brilliancy to the
occasion by conducting the performance personally
with his well-known skill. He was inspired to write
some of his most effective vocal pieces, "Naughty
Marietta," "Italian Street Song," "I'm Falling in
Love With Someone." "Dream Melody." These and
fifteen others—there are just nineteen in the score—
were applauded, cheered, redemanded once, twice,
thrice, till it seemed as if the audience were bound
in that way also to get more than twice its money's
worth.
CHARLES
DARNTON
IN
THE
EVENING
WORLD.—Mile. Trentini was a good story in her-
self, and she needed only Mr. Herbert's delightful
music to swing her into complete success. The fact
that the little lady's head was resting on his chest
did not prevent Mr. Harrold from rising to his great-
est vocal heights. The house rose to the tenor when
he sang "I'm Falling in Love With Someone," with
an outburst so tremendous that it must have been
music to his ears. The charm of Mme. Duchene's
contralto was brought out beautifully in '"Neath the
Southern Moon," and Mr. Martindel's fine bass made
"Marry a Marionette" one of the brilliant features
of a brilliant evening. "Naughty Marietta" puts all
the Viennese operettas we have heard quite in the
shade. It is a musical treat.
NEW YORK TIMES.—Signorina Emma Trentini
came to Broadway last night; Oscar Hammerstein sat
in a box at the New York Theatre, which he has not
entered previously for thirteen years; Orville Harrold,
like Signorina Trentini, "Late of the Manhattan Opera
Company," sang high B's; Victor Herbert conducted
the first performance of his new opera, "Naughty
Marietta"—all of which items may be set down as
sensational successes. So much enthusiasm, in fact,
was let loose at several times during the evening that
it seemed as if the roof would come down. It may
be said that Victor Herbert has written one of his
very most tuneful scores for the piece. Next to the
star Orville Harrold probably scored the biggest suc-
cess of the evening. He has a voice. He had to wait
pretty late in the evening for his chance, which came
with the waltz song, "I'm Falling in Love With Some-
one,"
The finish of this found the house in an up-
roar of applause of the sort which greets Caruso at
the end of the first act of "Pagliacci," and Mr. Har-
rold was obliged to repeat this song four times. He
might, in fact, have gone on repeating it indefinitely if
the audience had been allowed to have its way.
THE FOLLOWING ARE N O W READY:
= = VOCAL = =
Naughty Marietta
Mister Voodoo
I'm Falling in Love with Someone
'Neath the Southern Moon (For Thee)
It Never, Never Can Be Love
Italian Street Song
Waltzes
The Dream Melody
60
Live for To-day
60
60
The Sweet By and By
60
60
If I Were Anybody Else but Me
60
60
You Marry a Marionette
60
60
It's Pretty Soft for Simon
60
60
Ah! Sweet Mystery of Life (Dream Melody) .60
INSTRUMENTAL
75
Selection for Piano
1.00
60
Complete Vocal Score
2.50
PUBLISHED BY
M. WITMARK & SONS
CHICAGO
SAN FRANCISCO
WITMARK BUILDING
144-146 West 37th Street, New York City
LONDON
PARIS
THE MUSIC TRADE REVIEW
A Victor Herbert Triumph
Was produced at the New York Theatre, Monday Evening, November 7th, 1910
when Mr. Oscar Hammerstein presented his new Comic Opera
" Naughty Marietta"
Book and Lyrics by RIDA JOHNSON YOUNG
WITH
Mile. Emma Trentini
And an exceptional cast including"
C| Never in the history of musical productions was such a tribute in the way of an ova-
tion paid to a composer as Mr. Herbert received on this occasion.
WE APPEND A FEW PARAGRAPHS FROM THE VARIOUS CRITICISMS
THE MORNING WORLD.—Victor Herbert's music
is of high excellence. It is not only tuneful but of
substantial worth.
NEW YORK HERALD.—"Naughty
Marietta" over-
flows with melody that is really sung and played. Mr.
Herbert conducted his own score and got every effect
and climax possible out of it
NEW YORK TELEGRAM.—It is designated a
comic opera by the manager folks. It is more than
that. It is a tuneful opera. Victor Herbert wrote
the music, and that accounts for its melody.
NEW YORK AMERICAN.—-The opening number,
the overture, gave the audience a good idea of the
quality of music to follow. It was a bouquet of
melody, masterfully orchestrated, and played by a
company of grand opera musicians. The solos were
naive and original, especially those that fell to Mile.
.Trentini in the title role.
MORNING TELEGRAPH.—Herbert's onera has
great charm. Tastefully and brilliantly produced at
the New York gets a big welcome.
He conducted
with all his urgent and communicative energy, and
pioneered his latest work into popular success. Flowers
ran wild at the proper moment and loud acclamation
called the Wagner of operetta on the stage.
EVENING
JOURNAL.—"Naughty
Marietta" is
Victor Herbert at his very best, which means a light
opera score filled with music that has both distinction
and originality, music with true characteristic quality
and with a highly interesting and musicianly har-
monic orchestral accompaniment. Mile. Trentini had
the leading role.
THE SUN.—Victor Herbert's music is a real pleas-
ure to hear. On one of the pages of the programme
is a list of the titles of the songs, so that you can
pick out the ones you like best. You will have almost
as hard a time as the audience of last night, which
tried its level best to encore every one of them fifteen
times and to make the performance last till time for
the milk wagons to go round.
ACTON DAVIES IN THE EVENING SUN.—In
Victor Herbert's "Naughty Marietta" both Mile.
Trentini and Orville Harrold create sensations. A
magnificent quartette amid a splendid chorus makes
Oscar Hammerstein's new company the greatest sing-
ing organization in the history of comic opera—Victor
Herbert "comes back" with a vengeance, and earns
an ovation on his own account. A very remarkable
first night performance.
THE EVENING POST.—-Victor Herbert has added
another excellent light opera to his long list. There
isn't a dull moment in it, and in the orchestral score
there are not a few pearls which expert divers may
get hold of. Last evening he added brilliancy to the
occasion by conducting the performance personally
with his well-known skill. He was inspired to write
some of his most effective vocal pieces, "Naughty
Marietta," "Italian Street Song," "I'm Falling in
Love With Someone." "Dream Melody." These and
fifteen others—there are just nineteen in the score—
were applauded, cheered, redemanded once, twice,
thrice, till it seemed as if the audience were bound
in that way also to get more than twice its money's
worth.
CHARLES
DARNTON
IN
THE
EVENING
WORLD.—Mile. Trentini was a good story in her-
self, and she needed only Mr. Herbert's delightful
music to swing her into complete success. The fact
that the little lady's head was resting on his chest
did not prevent Mr. Harrold from rising to his great-
est vocal heights. The house rose to the tenor when
he sang "I'm Falling in Love With Someone," with
an outburst so tremendous that it must have been
music to his ears. The charm of Mme. Duchene's
contralto was brought out beautifully in '"Neath the
Southern Moon," and Mr. Martindel's fine bass made
"Marry a Marionette" one of the brilliant features
of a brilliant evening. "Naughty Marietta" puts all
the Viennese operettas we have heard quite in the
shade. It is a musical treat.
NEW YORK TIMES.—Signorina Emma Trentini
came to Broadway last night; Oscar Hammerstein sat
in a box at the New York Theatre, which he has not
entered previously for thirteen years; Orville Harrold,
like Signorina Trentini, "Late of the Manhattan Opera
Company," sang high B's; Victor Herbert conducted
the first performance of his new opera, "Naughty
Marietta"—all of which items may be set down as
sensational successes. So much enthusiasm, in fact,
was let loose at several times during the evening that
it seemed as if the roof would come down. It may
be said that Victor Herbert has written one of his
very most tuneful scores for the piece. Next to the
star Orville Harrold probably scored the biggest suc-
cess of the evening. He has a voice. He had to wait
pretty late in the evening for his chance, which came
with the waltz song, "I'm Falling in Love With Some-
one,"
The finish of this found the house in an up-
roar of applause of the sort which greets Caruso at
the end of the first act of "Pagliacci," and Mr. Har-
rold was obliged to repeat this song four times. He
might, in fact, have gone on repeating it indefinitely if
the audience had been allowed to have its way.
THE FOLLOWING ARE N O W READY:
= = VOCAL = =
Naughty Marietta
Mister Voodoo
I'm Falling in Love with Someone
'Neath the Southern Moon (For Thee)
It Never, Never Can Be Love
Italian Street Song
Waltzes
The Dream Melody
60
Live for To-day
60
60
The Sweet By and By
60
60
If I Were Anybody Else but Me
60
60
You Marry a Marionette
60
60
It's Pretty Soft for Simon
60
60
Ah! Sweet Mystery of Life (Dream Melody) .60
INSTRUMENTAL
75
Selection for Piano
1.00
60
Complete Vocal Score
2.50
PUBLISHED BY
M. WITMARK & SONS
CHICAGO
SAN FRANCISCO
WITMARK BUILDING
144-146 West 37th Street, New York City
LONDON
PARIS
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