The Theory of the Theatre, and Other Principles of Dramatic Criticism Part 10

_New York Evening Post_: "It is not often nowadays that a theatrical book can be met with so free from gush and mere eulogy, or so weighted by common sense ... an excellent chronological appendix and full index ... uncommonly useful for reference."

_Dial_: "Noteworthy example of literary criticism in one of the most Interesting of literary fields.... Provides a varied menu of the most interesting character.... Prof. Hale establishes confidential relations with the reader from the start.... Very definite opinions, clearly reasoned and amply fortified by example.... Well worth reading a second time."

_New York Tribune_: "Both instructive and entertaining."

_Brooklyn Eagle_: "A dramatic critic who is not just 'busting'

himself with t.i.tanic intellectualities, but who is a readable dramatic critic.... Mr. Hale is a modest and sensible, as well as an acute and sound critic.... Most people will be surprised and delighted with Mr. Hale's simplicity, perspicuity and ingenuousness."

_The Theatre_: "A pleasing lightness of touch.... Very readable book."

HENRY HOLT AND COMPANY PUBLISHERS NEW YORK

NEW POPULAR EDITION, WITH APPENDIX

Containing tables, etc., of the Opera Season 1908-11.

"The most complete and authoritative ... pre-eminently the man to write the book ... full of the spirit of discerning criticism.... Delightfully engaging manner, with humor, allusiveness and an abundance of the personal note."--_Richard Aldrich in New York Times Review._ (Complete notice on application.)

CHAPTERS OF OPERA

Being historical and critical observations and records concerning the Lyric Drama in New York from its earliest days down to the present time.

By HENRY EDWARD KREHBIEL

This is perhaps Mr. Krehbiel's most important book. The first seven chapters deal with the earliest operatic performances in New York. Then follows a brilliant account of the first quarter-century of the Metropolitan, 1883-1908. He tells how Abbey's first disastrous Italian season was followed by seven seasons of German Opera under Leopold Damrosch and Stanton, how this was temporarily eclipsed by French and Italian, and then returned to dwell with them in harmony, thanks to Walter Damrosch's brilliant crusade,--also of the burning of the opera house, the vicissitudes of the American Opera Company, the coming and pa.s.sing of Grau and Conried, and finally the opening of Oscar Hammerstein's Manhattan Opera House and the first two seasons therein, 1906-08.

"Presented not only in a readable manner but without bias ...

extremely interesting and valuable."--_Nation._

"The ill.u.s.trations are a true embellishment ... Mr. Krehbiel's style was never more charming. It is a delight."--_Philip Hale in Boston Herald._

"Invaluable for purpose of reference ... rich in critical pa.s.sages ... all the great singers of the world have been heard here. Most of the great conductors have come to our sh.o.r.es....

Memories of them which serve to humanize, as it were, his a.n.a.lyses of their work."--_New York Tribune._