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Cambridge History of American Literature: volume 3 (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.) 8 0 Browse Search
Jula Ward Howe, Reminiscences: 1819-1899 6 0 Browse Search
Edward L. Pierce, Memoir and letters of Charles Sumner: volume 1 4 0 Browse Search
Laura E. Richards, Maud Howe, Florence Howe Hall, Julia Ward Howe, 1819-1910, in two volumes, with portraits and other illustrations: volume 1 4 0 Browse Search
John Esten Cooke, Wearing of the Gray: Being Personal Portraits, Scenes, and Adventures of War. 2 0 Browse Search
James Parton, Horace Greeley, T. W. Higginson, J. S. C. Abbott, E. M. Hoppin, William Winter, Theodore Tilton, Fanny Fern, Grace Greenwood, Mrs. E. C. Stanton, Women of the age; being natives of the lives and deeds of the most prominent women of the present gentlemen 2 0 Browse Search
Edward L. Pierce, Memoir and letters of Charles Sumner: volume 3 2 0 Browse Search
Thomas Wentworth Higginson, Harvard Memorial Biographies 2 0 Browse Search
The Daily Dispatch: June 17, 1862., [Electronic resource] 2 0 Browse Search
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John Esten Cooke, Wearing of the Gray: Being Personal Portraits, Scenes, and Adventures of War., A young Virginian and his spurs. (search)
idge, and in a few moments the voice of the sentinel was heard giving the challenge. Relief, was the reply; and then came, Advance relief! which was immediately followed by the appearance of the relief-guard. The new sentinel was relieved from his post, and took his place among the guard, one of whom was posted, and the detachment was heard tramping across the bridge to relieve in the same manner the other sentinels. As they came on, tramp! tramp! like the statue of the commander in Don Giovanni, the young Virginian conceived.an idea as bold as it was original. It was difficult to crawl along the narrow ledge without falling into the black gulf below, and it was questionable whether any friendly water-pipe would enable him to flank the sentinel at the opposite extremity of the bridge. Why not fall in in the darkness with the unsuspecting detachment, pass through the guard beyond, and then take the chances of making his escape? His resolution was at once taken; and as the guard
James Parton, Horace Greeley, T. W. Higginson, J. S. C. Abbott, E. M. Hoppin, William Winter, Theodore Tilton, Fanny Fern, Grace Greenwood, Mrs. E. C. Stanton, Women of the age; being natives of the lives and deeds of the most prominent women of the present gentlemen, Eminent women of the drama. (search)
and singing, in the malediction scene, in act second of this opera, are still remembered, with lively emotions of astonishment and admiration, because of their extraordinary vitality, tragic force, and glittering precision of method, in which art concealed every trace of art and wielded the magical wand of nature. In addition to these, Miss Kellogg has made signal successes in Crispino e la Comare, Fra Diavola, Il Barbiere di Seviglia, I Puritani, L'etoile du Nord, La Sonnambula, Martha, Don Giovanni, Lucia di Lammermoor, and La Traviata. Her debut in London was made on the 2d of November, 1867, as Margherita. Few triumphs so genuine and so brilliant as hers have ever been won upon the London stage, and no American musical artist has hitherto attained a reputation at all commensurate with that which Miss Kellogg now enjoys abroad. Her impersonations, indeed, and her delightful vocal powers have in a surprising manner affected both the mind and the heart of the English people. Many
Edward L. Pierce, Memoir and letters of Charles Sumner: volume 1, Chapter 11: Paris.—its schools.—January and February, 1838.—Age, 27. (search)
morrow evening to a soiree at the Baron de Gerando's. He declined the invitation because of his inability as yet to speak French. Notwithstanding it was Sunday, I went with some friends to the Italian Opera. The opera for the night was Don Giovanni, one of the most famous, if not the most so, of the productions of Mozart. The performers were the famous Italians, who now stand the highest in the musical world,—Signori Rubini Giovanni Battista Rubini, 1795-1854; reputed the first Italian tenor of his time. (Don Ottavio); Tamburini Antonio Tamburini, 1800-1876. After singing in Italian theatres, he appeared first in Paris in 1832. He retired from the stage in 1854. (Don Giovanni); Lablache Luigi Lablache, 1794-1858; the celebrated basso. He succeeded both in the serious and the comic opera. He came to Paris in 1830, and performed there and in London. He is said to have given music lessons to Queen Victoria. (Leporello), the latter with the most powerful bass voice I
Edward L. Pierce, Memoir and letters of Charles Sumner: volume 3, Chapter 41: search for health.—journey to Europe.—continued disability.—1857-1858. (search)
us cathedral; crossing from Boulogne to Folkestone was quite sea-sick; met aboard Miss Hosmer the sculptor, Gibson, Macdonald, and other artists from Rome; reached London between nine and ten o'clock in the evening. June 17. Looked about for permanent lodgings; took rooms at No. 1 Regent Street [Maurigy's]; saw my old friend J. Parkes, and dined with him in Saville Row. June 18. Left a few cards on old friends; saw the queen in her carriage coming from the levee; went to the opera, Don Giovanni; afterwards to Monckton Milnes, who seemed much altered since I knew him. June 19. Down into the city; dined at Dolby's; in the evening went to Albert Smith's Mont Blanc. June 20. Passed some time with Lord Brougham,—very kind, but old; drove with the Mackintoshes in Hyde Park; dined at Russell Sturgis's. June 21. Church in the Abbey; found myself seated at the foot of the tomb of Fowell Buxton; dined with Mackintosh. Afterwards to Metropolitan Club, where I met Layard, Milnes
Cambridge History of American Literature: volume 3 (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.), Book III (continued) (search)
Another of the notable transmitters of Latin culture was Lorenzo Da Ponte (1749-1838), a genuine celebrity, and, as the librettist of Mozart's Nozze di Figaro, Don Giovanni, and Cosi Fan Tutte, one of the lesser immortals. A converted Jew, he was educated and he taught in a church seminary, and actually became an Abate. He mingledactions of plays for the Electoral Theatre; thence he removed to Vienna, where he became acquainted with Mozart, and wrote the libretti for Figaro (1786) and Don Giovanni (1787), produced with brilliant success. Driven away by court intrigues Da Ponte in 1793 went with his young English wife to London, and there made his headqulleck was one of his pupils), again opened a book shop, and helped in 1825 to bring over Garcia's troupe, which introduced Italian opera to New York. His own Don Giovanni was performed with great éclat. He published several volumes of Italian verse, gave lectures and conversazioni upon Italian literature; read and expounded Alf
Cambridge History of American Literature: volume 3 (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.), Index (search)
vina Commedia, 238, 490 Divine Emblem, 59 Divorce, 271 Dixie, 495 Dixon, Thomas, 267 Doane, Bishop, 500 Dobson, Austin, 312 Dock, Christopher, 390 Doctor Almosado, 608 Dr. Bluff, or the American Doctor in Russia, 598 Dr. Claudius, 88 Documentary history of New York, 179 Documents Inedits, 175 Documents relating to New England Federalism, 199 Does protection protect? 438 Doll's House, 603 Dombey and son, 268 Donald, E. W., 215 Donaldson, Thomas, 148 Don Giovanni, 449, 450 Doniphan, A. W., 144 Doniphan's expedition, 144 Don Juan, 546 Don Juan ou une histoire sous Charles-Quint, 590 Don Orsino, 88 Don Quixote, 6, 18 Doorstep, the, 46 Dorsch, E., 581 Dostoevsky, 81, 606 Douglas, S. A., 376, 377, 378, 415 Douglass, Wm., 426 Dowd, 352 Down historic Waterways, 165 Down in the West branch, 162 Doyle, Conan, 316 Drannan, W. F., 153 Draper, J. W., 180, 181, 236 Draper, L. C., 173 Dream (Byron), 369 Dream-doome
Laura E. Richards, Maud Howe, Florence Howe Hall, Julia Ward Howe, 1819-1910, in two volumes, with portraits and other illustrations: volume 1, Chapter 3: the corner --1835-1839; aet. 16-20 (search)
d, I began to feel the necessity of more strenuous application, and at once arranged for myself hours of study, relieved by the practice of vocal and instrumental music. These hours of study were not all passed at home. In 1836 she was taking certain courses at the boarding and day school of Mrs. E. Smith, then in Fifth Avenue, first house from Washington Square. The Italian master was a son of the venerable Lorenzo da Ponte, who in his youth had written for Mozart the librettos of Don Giovanni and Le Nozze di Figaro. Four languages, English, French, German, and Italian, Julia learned thoroughly; she spoke and wrote them throughout her life correctly as well as fluently, with singularly pure accent and inflection, and seldom or never was at a loss for a word; nor was she less proficient in history. For mathematics she had no gift, and was wont to say that her knowledge of the science was limited to the fact that four quarts made a gallon: yet the higher mathematics had a mys
Laura E. Richards, Maud Howe, Florence Howe Hall, Julia Ward Howe, 1819-1910, in two volumes, with portraits and other illustrations: volume 1, Chapter 14: the sundown splendid and serene 1906-1907; aet. 87-88 (search)
pianist gave her their best. She listened with keen and critical enjoyment, recalling how Malibran gave this note, how Grisi and Mario sang that duet. Then she would go to the piano and play from memory airs from Tancredi, I1 Pirata, Richard Coeur de lion, and other operas known to us only through her. Or she would — always without notes — play the Barber of Seville almost from beginning to end, with fingers still deft and nimble. She loved the older operas best. After an air from Don Giovanni, she would say, Mozart must be in heaven: they could never get on without him! She thought Handel's Messiah the most divine point reached by earthly music. Beethoven awed and swayed her deeply, and she often quoted his utterance while composing, Ich trat in der Ndhe Gottes! She thrilled with tender pleasure over Verdi's Non ti scordar, or Ai nostri monti, and over Martha. She enjoyed Chopin almost too much. He is exquisite, she would say, but somehow — rotten! Among the pleasures <
Thomas Wentworth Higginson, Harvard Memorial Biographies, 1860. (search)
celebrated statues in the world there. I recognized a great many old acquaintances, and had a real good time looking at them. Every time I receive a letter from you, I want more to go home. I am tired of Hanover, and of living here alone; and now that you are settled, it would be just as well for me to go; and I suppose it would be better to have a master who knows just what is needed to enter Harvard. January 30, 1856. Last Sunday was Mozart's hundredth birthday, and his opera Don Giovanni was given here; and on Monday I went to a beautiful concert, where none but his music was sung and played. Then besides these, the bands of two or three regiments gave concerts and played only Mozart's music. I always think of you when I hear fine music. Your letter of the 13th instant reached me to-day. You speak of my coming home as early in the spring as possible. I shall certainly do so; for I want very much to be with you again. Though I know a great many people here, I nev
Jula Ward Howe, Reminiscences: 1819-1899, Chapter 2: literary New York (search)
institution, and shunned its influence for their sons. The venerable Lorenzo Da Ponte was for many years a resident of New York, and a teacher of the Italian language and literature. When Dominick Lynch introduced the first opera troupe to the New York public, sometime in the twenties, the audience must surely have comprised some of the old man's pupils, well versed in the language of the librettos. In earlier life, he had furnished the text of several of Mozart's operas, among them Don Giovanni and Le Nozze di Figaro. Dominick Lynch, whom I have just mentioned, was an enthusiastic lover of music. His visits to my father's house were occasions of delight to me. He was without a rival as an interpreter of ballads, and especially of the songs of Thomas Moore. His voice, though not powerful, was clear and musical, and his touch on the pianoforte was perfect. I remember creeping under the instrument to hide my tears when I heard him sing the ballad of Lord Ullin's Daughter.
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