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Rise Of The Industrial Order
THE monotheistic system peculiar to the Middle Ages is represented by Comte as invested with a twofold destination, temporary indeed, but indispensable to the evolution of Humanity; he has given a notion of the general development of its political conse quences destined to effect the gradual disorganization of the military and theological system.
Aesthetic, Scientific, And Philosophic Evolutions
IT remains now to estimate the triple intellectual movement, Esthetic, Scientific, and Philosophical, which simultaneously prepared a spiritual reorganization capable of furnishing a rational basis for the temporal reorganization, the preparation for which we have just been examining.
French Revolution
IN order to appreciate what was accomplished by the French Revolution, we must consider it under two aspects,—the one simply preparatory, the other entirely characteristic, under the respective conduct of the two great National Assemblies.
The Future
THIS historical appreciation, which completes our brief examination of the Past, leads us to consider the present time as the epoch in which the grand philosophical renovation projected by Bacon and Descartes is to determine the spiritual reorganization of modern society, destined afterwards to preside over the political regeneration of mankind.
Science - Conclusion
WE have now passed rapidly through the sciences of which Comte has given the philosophy in the six volumes of his Cours de Philosophie Positive. This is the real and lasting service he has done to Humanity. Respecting his attempts to reorganize society on the basis he lays down, I, for one, deem them premature but this is not the place to enter upon so vast a subject.
An Interview With Marcella Sembrich
EARLY in the season of 1898-99 there was a performance of Traviata in the Metropolitan Opera-House which might be described as an occasion of superlatives - including the largest auditorium, the biggest audience, the finest singers. Grand opera in itself is a culmination and combination of the greatest efforts of the greatest minds.
ALL great prima donnas have in theďr repertoire the majority of famous operas, but through fitness of physique or temperament or quality of voice they become associated with certain roles more than others. Sometimes it is merely a caprice of the public that holds them to a particular line of operas.
A Call On Emma Eames
A CALL at the Hotel Marie Antoinette is a veritable eighteenth-century dream. A powdered footman in satin knee-breeches and the full court costume of that period flings open the great glass doors as you enter, and another one escorts you around some columns, and through some curtains, and down some steps to the main reception-room, where you wait while your name is announced.
FAUST is the opera in which Madame Eames has appeared most often in this country. No less than sixteen composers have used Goethe's poem as a libretto. Many of these works are excellent, and frequently we hear excerpts from them in our concerts.
MADAME EAMES is the only prima donna whom America has heard in Werther - a work which in Paris ranks as Massenet's best. But she does not sing it often, because, as she says, - It all lies in such a low key; and to sing always in one place is hard on the voice.
Calve And Carmen
HEAR Calve in Carmen - and die, is the motto which heralded this singer's first visit to America. Our curiosity was greatly aroused, for we thought we knew all about Carmen. We clung to the traditions of our own Minnie Hauk who had created the role, and could imagine nothing better than a trim, dainty Carmen with high-heeled slippers, short skirts, and a Spanish mantilla.
EVERY ONE likes Carmen. Its popularity has been ascribed to the fact that the action explains itself to the eye. One might also add that the music explains itself to the ear, for the themes are all unfurled and displayed like so many banners.
OF all Shakespeare's plays, Hamlet is the most difficult to surround with music and adapt for the lyric stage. It is more scholastic than dramatic, and for this reason composers have passed it by with the single exception of Ambroise Thomas.
A Talk With Lillian Nordica
IT was during one of Patti's farewell seasons at the old Academy of Music that a young American girl, by the name of Lillian Norton, first appeared as a prima donna. She made a success, but not a sensation, for she had not then the halo of a European glory, and people were in those days too intent on the passing star to note any rising one.
THERE seems a very magic about the name of Lohengrin - a mythical strength and beauty that at once characterize the whole opera. The fault is occasionally found that Wagner's operas are long and at times tedious; but this term is never applied to Lohengrin. One is disarmed of this suspicion in the very first prelude.
MADAME NORDICA'S Aida is an unsurpassed performance and always draws crowded houses, for the strange pathos of the music displays her wonderful voice to its fullest beauty. As in Carmen every measure scintillates with the sunshine of Spain, so in Aida every phrase seems shadowed by the mysteries of Egypt.
The Huguenots
IT is not surprising that the massacre of St. Bartholomew should have attracted such a composer as Giacomo Meyerbeer. The terrible scene immediately suggests a blaze of orchestral chords, seething strings, and shrieking brass, a style in which Meyer-beer delighted.
An Hour With Lilli Lehmann
IN Berlin, fourteen years ago, the foreigner was at once impressed with two faces, new to him, but conspicuous in every show-window. One picture represented an imposing, middle - aged man, which you were told was unser Kronprinz, and the other, a handsome, fine-figured woman, was unsere Lilli Lehmann.
The Flying Dutchman
The Flying Dutchman is one of the most melodious of Wagner's operas, and also one of the most popular in Germany. Its soprano rôle is well beloved by all Wagnerian singers, but for some reason the work is seldom given in this country.
Melba, The Australian Nightingale
A memorahle performance of Aida was given in London, at Covent Garden, a number of years ago. The Ethiopian slave-girl, dark-tinted and slight of figure, attracted no particular attention with her first unimportant recitative notes. The audience was diverted by the fine tenor singing, the excellent contralto, and the well-drilled work of the chorus.
LAKME was one of Patti's most successful rôles, and very few other singers have ventured to attempt it. But Madame Melba includes it in her repertoire, and a great treat is in store for New Yorkers when the managerial difficulties in the way of its production are sufficiently overcome for her to present it.
I Pagliacci
Pagliacci is the Italian word for clowns, a decidedly unique subject for grand opera. Novelty is one of the characteristics of this work. t has already achieved fame, altho but a child in age and size, being only a few years old and two acts long.
Orpheus And Eurydice
Classic myth and classic music are in this opera happily united. The beautiful legend belongs to the past, but Gluck the composer, like Orpheus the musician, has brought the departed to life. With gentle harmonies he pacified those surrounding Furies, the critics, and his creation has attained a lasting place in the musical world.
Genius Of Geraldine Farrar
Some half-dozen years ago rumors, vague as perfume from an unfolding flower, began to reach America about a new prima-donna; a Boston girl, very young and very beautiful; singing at the Berlin Royal Opera-house.
Madame Butterfly
Beauty of plot and great music are to an opera what fair features and a noble soul are to woman. Madame Butterfly possesses these attributes, and has consequently won that instant success which only true beauty, in either art or nature, calls forth.
Biology - The Science Of Life
LIFE, that strange, mysterious, unknown something which flies through the viewless air, flashes through the ocean's depths, blushes in the petals of a rose and manifests itself in a thousand marvelous forms can science grasp, define or explain it?
Nature Of Life
MORE puzzling than the riddle propounded by the fabled Sphynx is the problem suggested by the title of this chapter. What is life? is a question which has been asked by the scholars of all ages and man today is no nearer a final answer than were the philosophers in the earliest centuries of the historic era.
Physiological Idea Of Life
ACCEPTING the complicated processes of metabolism and reproduction as distinguishing characteristics of life, the force back of these distinctive powers or properties of living matter becomes a fruitful topic for investigation.
Origin Of Life
THE discussion of the origin of life is introduced by J. Arthur Thomson, of Aberdeen University, in 'The Science of Life' with the following words: If it were the object of this book to give a statement of the established facts of biology, our discussion of the origin of life might be condensed into a single sentence: We do not know anything in regard to the origin of life.
Cell Life
IN the two preceding chapters living substance has been spoken of as existing in separate organic individuals, plants and animals. It is not known to exist in a mass not organized as an individual plant or animal. Many early philosophers did conceive of living matter as existing without individualization.
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