I'm an adult collector and not all the dolls I purchase come with the diary, which leads me to purchase them separately to collect. I thought it would be nice to type out the contents of all the diaries I own, and will acquire, so every guy and ghoul can enjoy their stories. Quite frankly this is the first time I'm actually reading through them, and I quite enjoy them - so I hope you enjoy them too! This is where the ghoul kids rule!
Holt Hyde called her "a bit of a diva" with a "set of pipes" in his Basic diary. She is described as being a perfectionist and that she hates being told what to do. Although she was introduced as being bitter and frigid at first, she warmed up to the ghouls and showed that she could be a great friend. Overall, Operetta is like her music, independent and free. She doesn't walk on eggshells for anyone and will do what she wants, when she wants, no matter who it hurts or who it helps.
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According to Holt's 'Basic' diary, she went on a brief date with him, but that ended when he got them kicked out of the club. In the webisode "Phantom of the Opry, she decided to steal Deuce from Cleo in revenge for earlier false accusations. Romance could have occured between the two if Deuce hadn't already found Cleo to be his significant other, but that is something that will always remain unknown. The two have since become very good friends though.
The most poignant aspect of my newfound journey with Anne Frank is the newfound profundity of the diary rereading it as an adult. As she writes, she questions whether her life will have any meaning. Little does she know that she is actively writing the most important document of the twentieth century. Her short life coupled with her very advanced writing, in which she pondered humanity as a whole, is an excellent source for us to review 80 years on. Of utmost importance, she questions the presence of hate in the world.
Anne initially used her diary to write about daily life in the annex for her own enjoyment. But in the spring of 1944, she heard Gerrit Bolkestein, a member of the exiled Dutch government, send out a call during a London radio broadcast for personal accounts of life under German occupation. These were to be published after the war. Anne was inspired and quickly set about revising her existing diary entries while continuing to document her life in hiding.
S. William Brady (1878-1957), also known as William S. Brady, was an American voice teacher and coach. With a studio in New York, he taught well-known singers at the Metropolitan Opera as well as concert and musical comedy singers. For many years he taught in Europe in the summer months. He also composed several operettas and wrote poetry.
According to Holt's 'Basic' diary, she went on a brief date with him, but that ended when he got them kicked out of the club. In the webisode "Phantom of the Opry", she decided to steal Deuce from Cleo in revenge for earlier false accusations. Romance could have occured between the two if Deuce hadn't already found Cleo to be his significant other, but that is something that will always remain unknown. The two have since become very good friends though. Same if she seem to be just friend with,Johnny Spirit she seem also to have feeling for him, but she never revealed it.
MICAELA BARANELLO is Assistant Professor of Music at the University of Arkansas. Her work on opera staging and Regietheater has appeared in the Opera Quarterly, the Cambridge Opera Journal, the New York Times, and VAN Magazine. She is currently working on a book on Silver Age Viennese operetta.
In the second part of the programme we had Gilbert and Sullivan and Sydney Jones music; the ever popular Merry Widow and best of all as far as I am concerned immortal operetta melodies from Italy including Oh Cin ci La, Luna tu and Il paese dei Campanelli. One left the theatre in a light mood. Vera prosit to all concerned.
The performance history of English-language opera in the UnitedStates of the antebellum era has been sufficiently researched during the lastdecade to establish its importance to the American popular stage. (1) Thesame cannot be said, however, for English-language opera in postbellumAmerica; so little is known of the performance history of this genre, infact, that it is little better than historiographical terra incognita. As aresult, scholars have erroneously assumed that English-language operaessentially disappeared from the American stage, supplanted on the one handby the foreign-language opera companies supported by the social and economicelite of American society and on the other by plays-with-songs, spectacles,variety shows, and operettas that were so prominent a part of the Americantheater of the final three decades of the century. The assumption thatEnglish-language opera became extinct in the United States is tacitlysupported by the marked absence of any mention of English-opera performance(in the secondary literature); (2) this lacuna has led scholars toconclusions that must be called into question now that additional research isbeing conducted. (3)
For purposes of context, it is useful first to review broadly whatwe know about opera performance history during the period 1800-1860:generally speaking, it was a vital part of the American theater, especiallyduring the last twenty years of the period. Performances of many kinds ofopera (in French, Italian, English, and--to a limited extent--German)attracted American audiences of all social and economic classes. Italiantroupes--performing in Italian--proliferated in the 1840s, 1850s, and 1860s,but English opera was the dominant style of performance in America during theperiod. The repertory consisted of works written in English as well astranslations of the standard continental repertory. (4) Americans consumedtheir opera readily and happily; there was little sense during most of thefirst fifty years that opera in translation was in any way inferior to operain the original language (some argued, in fact, that translated opera wassuperior because it was intelligible) or a sense that opera did not belong aspart of the miscellany of entertainments that coexisted on the Americanstage. Opera performances of all types fit easily into the broad andconstantly changing theatrical repertory that included melodrama, ballet,blackface minstrelsy, pantomime, drama, mesmerism, burlesque, magic, and(later) spectacle/extravaganza, operettas, and plays-with-songs.
These four companies alone account for some thirty-six years ofEnglish-opera performance tours in America during the postbellum decades, butthese four, in fact, represent only a small portion of activity during theperiod. Other troupes that survived the vicissitudes of operatic managementin the 1870s, 1880s, and 1890s--and that undoubtedly were familiar on theAmerican musical-theatrical landscape--include the Hess Opera Company, formedby manager C. D. Hess in 1870 and active in various guises also until theearly 1890s; (15) the Alice Oates Opera Company, formed in 1870 as aburlesque opera troupe but by 1873 performing the standard English-operarepertory and active as a touring troupe for ten or eleven years; (16) theCarleton Opera Company, organized in 1878 by the "eminent baritone"William T. Carleton and active at least through the early 1890s (17); and theBoston Ideal Opera Company (later the Bostonians), a troupe formed in 1879that would function until 1904 as one of the country's most successful,best-known, and most musically skilled English-opera troupes. (18) Therewere, in addition, many other troupes--some of them quite short-lived, othersapparently active for several years. One can read of the comings and goingsof dozens of these troupes, including (but not limited to) the Holman OperaCompany, the Cooper Opera Company, the Campbell and Castle, Saville, and BayState English Opera Companies, as well as the Galton, Norcross, FayTempleton, Hersee, McCaull, Conreid, Duff's, Pauline Hall, Andrews,Crossy's, Manns, MacCollin's, Casino, Fisher's, and Tavarytroupes. There were also English companies managed by Italian operaimpresarios (Max Maretzek, Jacob Grau, and Max Strakosch all tried theirhands at English opera at one time or another) and by Italian opera starslike Emma Juch and Minnie Hauk. There was also the spectacularly unsuccessfulAmerican Opera Company established by Jeanette Thurber in 1885 (and disbandedduring the 1887-88 season), the highly publicized failure of which issometimes used as evidence of English opera's inability to compete withthe well-backed foreign-language troupes of Mapleson and the Metropolitan.(19) Finally, after the 1870s there were many troupes that specialized in theworks of Jacques Offenbach and Gilbert and Sullivan--but that also performedmany of the same "grand operas" as English (and foreign-language)opera troupes. The already-mentioned Boston Ideals, for example--a troupefounded at the height of the Pinafore craze to perform Gilbert & Sullivanoperettas (in an "ideal" style, hence the name) and identified eventoday by most scholars as an "operetta" troupe--also regularlyperformed such typical operatic fare as The Bohemian Girl, The Marriage ofFigaro, Fra Diavolo (Auber), Martha (Flotow), and L'Elisir d'Amour(Donizetti). (20)
Close examination of various aspects of the companies'activities is particularly interesting, for very little about thetroupes--their repertories, their personnel, or their audiences--fits easilywith stereotypes we may have accepted (consciously or unconsciously) aboutopera companies active in the late nineteenth century. The troupes performeda mixture of opera bouffe, operetta, English opera, and translations ofcontinental opera--repertories that today are considered distinctlydissimilar. It is difficult to pigeon-hole easily an opera troupe--or, moreaccurately, a whole multitude of opera troupes--that regularly performed sucha hodgepodge of repertories. The opera companies' personnel aresimilarly resistant to easy characterization, for many English-languageperformers moved readily among and between the worlds of burlesque,minstrelsy, opera, and drama. Again, these are theatrical realms considereddistinctly different--not to mention independent--by modern scholars.Finally, what is discernible about the audiences attracted by these troupesis likewise rather surprising, for it suggests not only that English operacontinued to function as a viable part of the American popular stagethroughout this period, but also that it competed successfully (with drama,minstrelsy, Italian opera, and specialty companies) for audiences. Certainlyan audience of this "type" challenges facile stereotypes--thataudiences for opera either did not exist outside of the elite, or that operaaudiences (or, for that matter, musical theater or drama audiences) weredivided consistently by wealth and class along repertorial lines. Examinationof each of these issues--repertory, singers' varied activities, andaudiences--will be dealt with in turn. be457b7860
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