[CHAPTER XIII]
"DER ROSENKAVALIER"
The opera's predecessors, "Guntram," "Feuersnot," "Salome," Oscar Wilde makes a mistaken appeal to France, His necrophilism welcomed by Richard Strauss and Berlin, Conried's efforts to produce "Salome" at the Metropolitan Opera Blouse suppressed, Hammerstein produces the work, "Elektra," Hugo von Hoffmannsthal and Beaumarchais, Strauss and Mozart, Mozart's themes and Strauss's waltzes, Dancing in Vienna at the time of Maria Theresa, First performance of the opera at New York, "Der Rosenkavalier" and "Le Nozze di Figaro," Criticism of the play and its music, et seq.—Use of a melodic phrase from "Die Zauberflote," The language of the libretto, The music, Cast of the first American performance, (footnote)
[CHAPTER XIV]
"KONIGSKINDER"
Story of the play, et seq.—First production of Hummerdinck's opera and cast, Earlier performance of the work as a melodrama, Author and composer, Opera and melodrama in Germany, Wagnerian symbolism and music, "Die Meistersinger" recalled, Hero and Leander, Humperdinck's music,
[CHAPTER XV]
"BORIS GODOUNOFF"
First performance of Moussorgsky's opera in New York, Participation of the chorus in the tragedy, Imported French enthusiasm, Vocal melody, textual accents and rhythms, Slavicism expressed in an Italian translation, Moussorgsky and Debussy, Political reasons for French enthusiasm, Rimsky-Korsakoff's revision of the score, Russian operas in America, "Nero," "Pique Dame," "Eugene Onegin," Verstoffeky's "Askold's Tomb," The nationalism of "Boris Godounoff," The Kolydda song "Slava" and Beethoven, Lack of the feminine element in the drama, The opera's lack of coherency, Cast of the first American performance,